Chicago Reader: print issue of July 14, 2016 (Volume 45, Number 40)

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THIS WEEK

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EDITOR JAKE MALOOLEY CREATIVE DIRECTOR PAUL JOHN HIGGINS DEPUTY EDITOR, NEWS ROBIN AMER CULTURE EDITOR TAL ROSENBERG DIRECTOR OF PHOTOGRAPHY DANIELLE A. SCRUGGS FILM EDITOR J.R. JONES MUSIC EDITOR PHILIP MONTORO ASSOCIATE EDITORS KATE SCHMIDT, KEVIN WARWICK, BRIANNA WELLEN SENIOR WRITERS STEVE BOGIRA, MICHAEL MINER, MIKE SULA SENIOR THEATER CRITIC TONY ADLER STAFF WRITERS LEOR GALIL, DEANNA ISAACS, BEN JORAVSKY, AIMEE LEVITT, PETER MARGASAK, JULIA THIEL SOCIAL MEDIA EDITOR RYAN SMITH GRAPHIC DESIGNER SUE KWONG MUSIC LISTINGS COORDINATOR LUCA CIMARUSTI EDITORIAL ASSISTANT CASSIDY RYAN CONTRIBUTING WRITERS NOAH BERLATSKY, DERRICK CLIFTON, MATT DE LA PEÑA, ANNE FORD, ISA GIALLORENZO, JOHN GREENFIELD, JUSTIN HAYFORD, JACK HELBIG, DAN JAKES, BILL MEYER, J.R. NELSON, MARISSA OBERLANDER, DMITRY SAMAROV, KATE SIERZPUTOWSKI, ZAC THOMPSON, DAVID WHITEIS, ALBERT WILLIAMS INTERNS APRIL ALONSO, JESSICA KIM COHEN, SARA COHEN, MARC DAALDER, KT HAWBAKER-KROHN, FARAZ MIRZA, SUNSHINE TUCKER, ANNA WATERS

IN THIS ISSUE

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4 Agenda Freakshow & Tell, Adam Burke’s new comedy series, Galerie F’s four-year anniversary show, the Whistler’s new installation, and more recommendations

CITY LIFE

8 Street View Retiree Marta Collazo shows off her close-cropped hair.

8 Essay A Hillary Clinton supporter: “I don’t vote with my vagina.”

10 Politics Killing a cop is a horrible crime—but it’s not a hate crime.

12 Transportation The past month has seen an apparent uptick in cycling accidents, incuding two fatal ones.

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ARTS & CULTURE

14 Theater Steppenwolf’s Between Riverside and Crazy will have audiences on the fence.

15 Theater Salonathon is theater with a little more of a punk attitude and a lot more Pabst Blue Ribbon.

16 Comedy Local comic Sarah Sherman puts the “I” in “squirm.”

17 Visual Art Intuit celebrates 25 years by going back to the beginning.

18 Small Screen HBO’s The Night Of offers up a series of misguided turns.

18 Lit For Inside Amy Schumer writer Jessi Klein, growing up is hard to do.

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19 Movies The Legend of Tarzan brings back the ape man but squanders a real-life hero.

20 Movies In Our Little Sister, three grown siblings reckon with their late father’s messy life.

MUSIC

32 Shows of note Mitski, Metal Threat Fest, John Carpenter, Maren Morris, and more

FOOD & DRINK

37 Restaurant review: Beacon Tavern Getting high on butter at Billy Lawless’s new seafood-focused restaurant.

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CLASSIFIEDS

42 Jobs 42 Apartments & Spaces 44 Marketplace 44 Straight Dope Why are humans so afraid of insects?

45 Savage Love Can one condom handle two loads?

46 Early Warnings Dandy Warhols, Aretha Franklin, Insane Clown Posse, and more shows in the weeks to come 46 Gossip Wolf Funk Trunk Records shutters its brick-and-mortar shop, and more music news.

FEATURE

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Reader writers round up the locals on the bill, guide fans of hip-hop and R&B into the rest of the roster, and discuss the fest’s softening antipathy to emo, the gender balance of its bookings, and Brian Wilson’s white privilege. 21

THE READER’S PITCHFORK coverage continues from Union Park all weekend long at CHICAGOREADER.COM with recaps of each day of the festival, photos of artists (onstage and backstage), and shots of stylish attendees decked out in their fest best. Follow @CHICAGO_READER to stay up to date in real time on v and nd .

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F have retained more information about science and history during a single carnival-themed night than in all my years of schooling. —BRIANNA WELLEN Through 7/30: Sat 8 PM, The Lincoln Loft, 3036 N. Lincoln, second floor, 773362-5324, freakshowtell.com, Pay what you can.

Wastwater ò GREGG GILMAN AND LEE MILLER

THEATER

inviting, a welcome approach to a tale of friendship. —A.J. SØRENSEN Through 8/13: Fri-Sat 8 PM, Sun 3 PM, The Factory Theater, 1623 W. Howard, thefactorytheater.com, $10-$25.

The Cousin From Nowhere Chicago Folks Operetta, which speR cializes in producing neglected works

Eroica Set in 1966 against the backdrop of the Vietnam War, David Alex’s new 75-minute one-act concerns a smalltown high school basketball coach, Victor (Felipe Carrasco), who spouts patriotic platitudes to denounce antiwar protestors, though he himself has received a medical deferment from the draft. His sister Grace (Sarah Koerner), a liberal nun, is torn between her conscience and her love for her brother, while Victor’s wife Sally (Sarah Pavlak McGuire) worries about her brother, who’s MIA in Vietnam. Enter Charles (Garrett Young), one of Victor’s former players, whose slick but shifty charm barely masks a devious hidden agenda.

As secrets begin to spill out, Alex and director Maggie Speer seem to be aiming for tragedy in the vein of Arthur Miller’s All My Sons. But stilted dialogue, heavy-handed moralizing, and melodramatic plotting blunt the story’s potential impact. —ALBERT WILLIAMS Through 8/7: Tue-Wed and Sun 7:30 PM, Sat 3 PM, Redtwist Theatre, 1044 W. Bryn Mawr, 773-728-7529, redtwist.org, $20.

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from the post-World War I “Silver Age” of European operetta, delivers a winning revival of German composer Eduard Künneke’s 1921 Berlin hit. Translated

by Gerald Frantzen and Hersh Glagov from the original text by Fritz Oliven (aka “Rideamus”) and Herman Haller, the libretto is whimsical fluff: 18-yearold heiress Julia (Heather Youngquist) falls in love with a wandering stranger (Nicholas Pulikowski), who she thinks is her long-absent childhood sweetheart, upsetting the scheme of her greedy uncle and aunt (James Judd and Rose Guccione) to arrange a marriage for her so they can control her fortune. Under Elizabeth Margolius’s direction, the romantic farce is performed in modern dress on an abstract white set. The cast of eight skilled singers play the comedy with a touch of mischievous camp while doing full justice to the gorgeous melodies. The lush, tuneful, bouncy score—packed with lively and lyrical waltzes, polkas, mazurkas, foxtrots, and tangos—is played superbly by a 21-piece orchestra under conductor Anthony Barrese. —ALBERT WILLIAMS Through 7/17: Thu-Sat 7:30 PM, Sun 2 PM, Stage 773, 1225 W. Belmont, 773-327-5252, chicagofolksoperetta.org, $25-$40.

Dating and Dragons There are R strategies involved in the games of life, romance, and play, whether it’s

conquering dragons or being vulnerable enough to fall in love, and there’s a reason people don’t play these games alone. Writer Mike Ooi delivers a simple story of puppy love, pop culture, and nerdy awkwardness in this Factory Theater production—Jack (Nick Freed) is a Dungeons & Dragons-playing everyman who struggles to find a sweetheart while working in a video store. The show is wildly creative in its telling: the cast often breaks the fourth wall to make sure the audience is still in on the fun and able to follow along. It’s silly and

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Freakshow & Tell Sideshow entertainer Thom Britton’s solo show is part performance, part demonstration. He eats fire, hammers a nail into his nose, shoves his face into a pile of broken glass, and then unveils the science that keeps him free of harm during each act. Knowing doesn’t make any of the stunts any less amazing—even though Britton explained that our heads are full of nasal passages wide enough to fit a nail, I still cringed and stared in awe as he tapped one into a nostril.

Britton is a charismatic performer who appears genuinely thrilled to share how simple his seemingly death-defying acts really are. His explanations are peppered with jokes and carnival flair, making even the dullest details memorable and entertaining. Together with the preshow display of a dead flying frog, a fallout shelter radiation kit, and other odd items from the traveling educational group the College of Curiosity, I may

Generation Gap Cortney is a 25-yearold South Carolina girl living in Chicago.

She used to have a grown-up corporate job but quit in a huff when she felt disrespected as a woman. Since then she’s been stuck in slacker mode, drinking Buds with her buddy when she’s not delivering cookies for a bakery. Then mom shows up to set her right. Cortney experiences a series of feminist “flashbacks”: her grandma as a young spitfire who refuses to be wooed the old-fashioned way, her mom as a new employee getting hazed by male colleagues, and Cortney herself as a kid growing up in a sitcom household. The result, apparently, is an awakening. Well, that was easy.

At under 50 minutes, Mary Beth Smith’s script makes a short play but a very long public service announcement, vaguely conceptualized and indifferently staged.

—TONY ADLER Through 8/2: Tue 8 PM, Annoyance Theatre, 851 W. Belmont, 773697-9693, theannoyance.com, $8.

A Jewish Joke In this one-man show, a successful Jewish screenwriter named Bernie Lutz (Phil Johnson, who cowrote the play) confronts the anti-Communist fervor of 1950s Hollywood. As Bernie scrambles to avoid being blackballed, he lights up the stage with off-the-cuff yiddishisms and wild office shenanigans.

The play’s humor comes in large part from Johnson’s physical presence—his duck-footed walk and drooped shoulders impart a man who is always performing, no matter the occasion. As he tells Jewish jokes from his “collection,” a box full of index cards, Johnson wonderfully channels a bygone era of Jewish funnymen, who never forgot to laugh, even during the terrors of the McCarthy witch hunt. —MAX MALLER Through 7/31: Wed 3 PM, Thu-Sat 7:30 PM, Sun 3 PM, Victory Gardens Theater, 2433 N. Lincoln, 773-871-3000, ajewishjoke.com, $32.

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Lysistrata Can a comedy from 411 BC be relevant today? When it comes to the battle of the sexes, Aristophanes’s play—in which the women famously save Greece by abstaining from sex—proves that it can. In Side Project’s retelling, contemporary audiences will no doubt relate to the women’s disgust with a never-ending war (with no identifiable signs of progress) that costs the lives of their husbands and sons; to bring peace to their villages and deliver comedic relief, the women rebel by blue-balling their men into submission.

Adam Webster’s adaptation rhymes just a bit too much, but the strong cast sustains the power of this 2,500-year-old message: everyone can do something to obtain peace, even if it means doing nothing. —A.J. SØRENSEN Through 7/24: Thu-Sat 8 PM, Sun 3 PM, Side Project Theatre Company, 1439 W. Jarvis, 773-

973-2150, thesideproject.net, $20.

A Midsummer Night’s Dream Last summer Hayley Rice codirected a wonderful production of The Winter’s Tale with her mother, First Folio cofounder Alison C. Vesely. This year Rice directs alone, and though her stab at A Midsummer Night’s Dream indicates her potential, the uneven show suggests that she needs more work. Elements of this oft-produced summer comedy work like a dream—Elsa Hiltner’s costumes are a delight. But the show is marred by miscasting—Michael Joseph Mitchell, for example, is too weak to be either Theseus or Oberon, but might have made a killer Peter Quince—and too many overthe-top comic performances. And of the four lovers at the center of the play, only Sarah Wisterman, as the frequently put-upon Hermia, performs with the kind of passion that makes the Bard’s lines soar. —JACK HELBIG Through 8/14: Wed-Sun 8:15 PM, First Folio Theatre, Mayslake Peabody Estate, 31st and Rt. 83, Oak Brook, firstfolio.org, $29-$39.

Wastwater Simon Stephens’s intiR mate, hyperrealistic play is a study in quiet desperation. Set in the sketchy area that environs London’s Heathrow Airport—a section always on the verge of being demolished for runway expansion—the show concerns a handful of sad nobodies as expendable as the world they inhabit. Though present in three tightly written but frustrating and ambiguous two-person scenes, the audience never really gets to know them.

That is, of course, the point, sufficiently made clear by director Robin Witt and her finely tuned ensemble; Caroline Neff is particularly strong as a thuggish human trafficker. This is not for people who like their theater big and loud—this troubling play aims to do no more than expose fear in a handful of dust. —JACK HELBIG Through 8/13: Thu-Sat 8 PM, Sun 3 PM, Steep Theatre, 1115 W. Berwyn, 312458-0722, steeptheatre.com, $10-$35.

DANCE Evil & Good Chicago Dance Crash has always occupied a distinctive space between flashy squad and classically trained ensemble. The dancers are versatile, agile, but they come at you with the attitude of a hip-hop crew.

That attitude often leads to dark places.

For Evil & Good, the company’s latest world premiere, the scenario is pretty much cut and dried from the start: nine scenes pit opposing forces against one another—like a series of old-fashioned dance-offs with an emphasis on bright spotlights, lithe solos, and a cast of nebulous characters. Much of it feels like entertainment for its own sake, akin to what you might see on an episode of So You Think You Can Dance. The shtick can get tedious, but there’s hardly a moment where you won’t appreciate the skill on display. Cat Deeley would approve. —MATT DE LA PEÑA Through 7/16: Fri-Sat 8 PM, Sun 3 PM, Vittum

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Best bets, recommendations, and notable arts and culture events for the week of July 14 “New Dances” ò CHERYL MANN PRODUCTIONS

For more of the best things to do every day of the week, go to chicagoreader. com/agenda.

conviction also strengthens the story’s spine: the ending, in which the kids symbolically affirm their independence, is so aggressively tasteless it seems to have burst straight out of an underground cartoon. With Missi Pyle, Kathryn Hahn, and Steve Zahn. —J.R. JONES Century 12 and CineArts 6

Chitra Divakaruni ò KRISHNA GIRI

New Dances Thodos Dance R Chicago’s 16th annual showcase with guest choreographer Shannon

Alvis. 7/16-7/17: Sat 7:30 PM, Sun 3 PM, Athenaeum Theatre, 2936 N. Southport, 773-935-6860, athenaeumtheatre.org, $14-$40.

Brown and Neil Figuracion, the two troupes don’t ever fully coalesce. The dancers in particular seem unsure of what to do with themselves. It falls to the improvisers to scrounge up some laughs and make sense of the plot, though they struggle to maintain focus.

—ZAC THOMPSON Through 7/31: Sun 8 PM, MCL Chicago, 3110 N. Sheffield, mclchicago.com, $20.

COMEDY

VISUAL ARTS

A Dope Ass Comedy Show Laugh along with Felonious Munk, Drew Frees, and more at this night of comedy hosted by Dave Helem. Fri 7/15, 9 PM, North Bar, 1637 W. North, 773-1235678, liveatnorthbar.com, $5.

Galerie F “Street Level,” works from Bunny Xlv, Mosher, Penny Pinch, and more local street artists deck the walls in celebration of Galerie F’s fourth year.

Opening reception Fri 7/15, 6-10 PM. 7/15-7/31. Tue-Sun 11-6. 773-819-9200. 2381 N. Milwaukee, 773-819-9200, galerief. com.

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Monday Mulligan with Adam R Burke Tonight’s installment of this new comedy series features Ali Clayton and Sonia Denis. Mon 7/18, 10 PM, Hideout, 1354 W. Wabansia, 773-227-4433, hideoutchicago.com, $5.

Adam Burke ò COURTESY THE ARTIST Spectacle Spectacular: A Fully Improvised Song and Dance Musical Improvisers the Glitter Island Gang have teamed up with the J. Lindsay Brown Dance Company for this intermittently enjoyable production, in which a brandnew musical is made up on the spot. On the night I saw the show, an audience suggestion of “gooey” inspired a shaggy tale about a town being taken over by sentient slime. As you’d expect from a large cast working without a script or choreography, things can get chaotic and, despite the efforts of directors

Writing Matters: Chitra DivaR karuni The Kolkata native author reads from her latest novel, Before We Visit the Goddess. Sat 7/16, 7 PM, Hemingway Museum, 200 N. Oak Park, Oak Park, 708-848-7501, chitradivakaruni. com, $10.

MOVIES

More at chicagoreader.com/movies NEW REVIEWS Captain Fantastic This odd duck by writer-director Matt Ross plays like a survivalist’s remake of The Seven Little Foys (1955), that old Bob Hope movie about a widowed vaudevillian struggling to care for his brood of wacky, free-spirited children. Viggo Mortensen is the

Richard Gray Gallery “Slow Painting,” Chicago artist John Santoro showcases recent landscape paintings, ranging from Hong Kong rainstorms and lakeside beaches to Southwestern mesas and urban backyards. Opening reception Thu 7/14, 6-8 PM. 7/14-9/10.

Mon-Fri 10-5, Sat by appointment. 875 N. Michigan, Ste. 3800, 312-642-8877, richardgraygallery.com.

Whistler Celebrate the Whistler’s new gallery installation by the U.S. Pizza Museum with this evening pizza party, followed by a performance by rapper ShowYouSuck. Opening reception Wed 7/20, 6 PM-2 AM. Sunday 5 PM-2 AM, Monday-Thursday 6 PM-2 AM, Friday 5 PM-2 AM, Saturday 5 PM-3 AM. 2421 N. Milwaukee, 773-227-3530, whistlerchicago.com.

LIT

Soulful Chicago Book Fair Six R blocks will be filled with books during this all-day “gathering of the

griots.” The event brings together more than 100 authors for literary workshops and spoken word and slam poetry performances that celebrate literature from the African Diaspora. Sat 7/16, 10 AM-8 PM, Cottage Grove to King Drive on 61st, Cottage Grove to King Drive on 61st, 646-359-6605, soulfulchicagobookfair. com.

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The Great Game With this eloquent debut feature (2015), writer-director Nicolas Pariser hopes to expose the seedy underbelly of French politics, but aside from a handful of rapier exchanges, his script never really specifies the conspiracy being fomented or the extent of the corruption. That’s unfortunate, because the principal actors—André Dussollier (Amélie) as an aging political puppet master; Melvil Poupaud as a faded, fortyish author coerced into ghostwriting the politician’s provocative book; and Clémence Poésy as an enigmatic woman immersed in an extreme-left group—are excellent. “The public arena doesn’t exist,” the older man informs the younger. “I create it.”

This assertion might have been the jumping-off point for a sinuous political thriller, yet the plot twists are few and the climax is feeble. In French with subtitles. —LEAH PICKETT 100 min. Sun 7/17, 3 PM, and Tue 7/19, 6 PM. Gene Siskel Film Center

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Sat-Sun, July 16-17 @ 3:30pm Mon-Tue, July 18-19 @ 6:30pm

X-Men: Apocalypse

Sat-Sun, July 16-17 @ 8:00pm Mon-Tue, July 18-19 @ 9:15pm Wed, July 20 @ 9:30pm

The Infiltrator captain, a die-hard 60s radical in the Pacific Northwest who has moved his family into the wilderness and teaches his six kids to hunt and fish and read literary and philosophical classics; the mother has committed suicide, and her father (an icy, glowering Frank Langella) launches a legal battle to wrest custody of the children from their dreamy dad. The movie’s liberalism sometimes verges on sanctimony (in one scene the youngest child, prompted by her father, gives her much older cousins a primer on the Bill of Rights), but Ross’s political

The Infiltrator Adapted from a memoir

by U.S. customs agent Robert Mazur, this well-written drug thriller dramatizes an undercover operation that targeted the Medellin cartel’s international money laundering in the mid-1980s. The dramatic tropes of the undercover-cop thriller—the false identities, the close calls, the divided sympathies, the climactic betrayals—are so familiar at this point that a movie is obliged to bring something else to the table. Screenwriter Ellen Brown Furman does this by capturing more vividly than usual the µ

The Nice Guys Sat, July 16 @ 6:15pm & 10:15pm Sun, July 17 @ 6:15pm Wed, July 20 @ 8:00pm

Popstar: Never Stop Stopping Wed, July 20 @ 6:30pm

This Is Spinal Tap

JULY 14, 2016 - CHICAGO READER 5

AGENDA

Nuts!

“‘CAPTAIN FANTASTIC’

SAVES THE SUMMER.” “ONE OF THE YEAR’S BEST MOVIES.”

Picks

ARTWORK © 2016 BLEECKER STREET MEDIA LLC. © 2016 CAPTAIN FANTASTIC PRODUCTIONS, LLC. ALL RIGHTS RESERVED.

SPECIAL ENGAGEMENTS

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B fraught relationship between the hero (Bryan Cranston) and his wife (Juliet Aubrey), who’s terrified of him dying a nightmarish death, and by placing the story in the political context of President Reagan’s misguided Central American policy (a key player in the sinister financial web is the Bank of Credit and Commerce International, later the institution of choice for the Iran-Contra conspirators). Brad Furman, the screenwriter’s husband, wrings the maximum suspense out of all this; his able cast includes John Leguizamo, Diane Kruger, Benjamin Bratt, and Amy Ryan.

—J.R. JONES R, 120 min. Block 37, Cicero 14, River East 21 Last Cab to Darwin A terminally ill taxi driver crossing the Australian outback to get euthanized may not sound funny or uplifting, but this eccentric road movie happens to be both. Based on a 2003 play

by Reg Cribb, who cowrote the screenplay with director Jeremy Sims, the narrative follows the insular driver (Michael Caton) from his home in Broken Hill, South Wales—a desolate town, befitting its name, where he secretly dates his aboriginal neighbor (Ningali Lawford, delightful)—to Darwin, Northern Territory, where a doctor (Jacki Weaver) launching a legal euthanasia service has promised him death with dignity. Along the way he meets a troubled young man and a nurse working in a rural pub, who alter his perspective in ways comic and poignant. Though Weaver’s character is too didactic and Lawford’s is underused, Cribb and Sims wisely curb the melodrama in favor of wry humor at the absurdity of life and death. —LEAH PICKETT 123 min. Fri 7/15, 2 and 6 PM; Sat 7/16, 3 PM; Sun 7/17, 4:45 PM; Mon 7/18, 7:45 PM; Tue 7/19, 6 PM; Wed 7/20, 7:45 PM; and Thu 7/21, 6 PM. Gene Siskel Film Center Lucha Mexico “We are legends, and legends never end,” declares one of the masked bruisers in this documentary about the Mexican wrestling federation CMLL (Consejo Mundial de Lucha Libre) and the long, colorful history of

free-form wrestling at the Arena Mexico in Mexico City. One hardly expects wisdom from guys who like to kiss their own biceps, and the performers singled out by directors Alex Hammond and Ian Markiewicz provide little insight into what makes them tick (aside from Último Guerrero, who helpfully explains, “I love making people angry”). But their enthusiasm for the sport and its traditions is contagious, spanning the generations (Blue Demon, a big star from the 50s through the 80s, has been succeeded by his adopted son Blue Demon Jr.) and focusing the mind on important matters (the exact spot at the Arena Coliseo where wrestler Sangre India fell out of the ring onto his head and died). In English and subtitled Spanish. —J.R. JONES 103 min. Fri 7/15, 8:30 PM; Sat 7/16, 7:45 PM; Sun 7/17, 5 PM; Mon 7/18, 8 PM; Tue 7/19, 8:30 PM; Wed 7/20, 6 PM; and Thu 7/21, 8:30 PM. Gene Siskel Film Center Nuts! I can’t imagine anyone believing that goat glands transplanted into human reproductive organs could cure impotence, but as this lively, offbeat documentary proves, plenty of Americans did— enough to make medical charlatan John R. Brinkley a millionaire during the 1920s and ‘30s. Director Penny Lane (Our Nixon) shows how this small-time swindler founded Kansas radio station KFKB to plug his bogus medical practice and pharmaceuticals and, after his medical and broadcasting licenses were revoked, parlayed his wealth and celebrity into a Kansas gubernatorial bid. A cautionary tale, the documentary demonstrates how a megalomaniac with a bully pulpit can cross over from commerce and entertainment into political demagoguery. —ANDREA GRONVALL 79 min. Facets Cinematheque The Secret Life of Pets Secretly our pets are just like us, except that they riff like seasoned club comedians (Louis C.K., Kevin Hart) and sail around the frame like fat ballerinas.

Despicable Me animators Pierre Coffin and Chris Renaud branch out with this spirited tale about

two mismatched dog pals and the neighboring pets from their Manhattan apartment complex running loose in the streets. Comedy animation is all about timing, and Coffin and Renaud have it in spades, though the story—a variation on the old Disney live-action feature The Incredible Journey—is so tired that the action can’t let up for an instant. Quirkier than Disney, less crass than Fox, and content to let Pixar do the showing off, the animators have created their own commercial niche. With the voices of Ellie Kemper, Albert Brooks, Lake Bell, Dana Carvey, Steve Coogan, and Hannibal Buress.

—J.R. JONES PG, 91 min. Arclight, Block 37, Century 12 and CineArts 6, Landmark’s Century Centre, New 400, River East 21 Wiener-Dog Todd Solondz revives Dawn Wiener, the geeky child who won America’s heart in his Welcome to the Dollhouse (1995), for this nihilistic collection of stories linked by changing ownership of a dachshund. Greta Gerwig shoulders the unenviable task of taking over for Heather Matarazzo, who has long since sworn off playing Dawn, and Kieran Culkin is Brandon McCarthy, Dawn’s old grade-school boyfriend, who once flirtatiously threatened to rape her after class and now comes back into her life all grown up and hooked on heroin. The best story involves Danny DeVito as a screenwriting teacher, which allows Solondz, an adjunct professor at New York University’s Tisch School of the Arts, to vent his spleen at the ignorance and arrogance of his students. One of these kids mocks the DeVito character as a shtick artist, which is a reasonable assessment of Solondz; like so many of his movies, this one milks the device of an innocent child peppering an adult with searching questions, only to be rewarded with brutally candid and miserable explanations of the adult world.

With Ellen Burstyn, Julie Delpy, and Tracy Letts. —J.R. JONES R, 90 min. Music Box

SPECIAL EVENTS Painting the Modern Garden: From Monet to Matisse Artists, garden enthusiasts, and museum curators explore the connection between Impressionists, PostImpressionists, avant-garde artists, and the gardens they cultivated.

93 min. Sat 7/16-Sun 7/17, 11:30 AM. Music Box Something New In this 1920 silent drama, a young woman captured by Mexican bandits awaits rescue by her friend, who’s traveling across rough terrain by car. Nell Shipman and Bert Van Tuyle directed.

Screening outdoors with live musical accompaniment by Terroir. Wed 7/20, 8:30 PM. Comfort Station v

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please recycle this paper JULY 14, 2016 - CHICAGO READER 7

CITY LIFE Essay

I don’t vote with my vagina

I’m voting for Hillary Clinton with a brain that understands what having a vagina means.

By JULIA WEISS

ò ISA GIALLORENZO

I

Street View

Cutting it close MARTA COLLAZO’S ANDROGYNOUS cropped hair frames her, she says, “like a blank canvas” ready to showcase unique wares: Komono sunglasses, a bird cameo secured to an amber necklace with a twist tie from a loaf of bread, a geometric bracelet that was a gift from a stranger at a Starbucks. “It’s a very transparent hairdo because you cannot hide your face or facial expressions,” the 61-year-old retiree said last month during a fashion show at the Stony Island Arts Bank that was part of the exhibit “Runway to Reality,” a collaboration between photographer Maurene Cooper and gown designer Suzette Opara that featured southside teens in prom dresses. “It allows people to see you.” —ISA GIALLORENZO

have a group tex t w ith my mom, my dad, and my sister.

It’s mostly pictures of brisket, stories about how Liz’s dog has met a goat or a child. There’s a long stretch where I try to help them figure out how they can watch Lemonade. My mom often uses this forum to talk about what she’d do if she won the lottery, or as she calls it, “the big one.” On the night last month when Hillary clinched the Democratic nomination, a text came in from my sister who had caucused for Bernie Sanders.

It said:

“We’ve had the vote for less than 100 years,” my mom replied, “This is beyond incredible.” I hadn’t watched it happen. I was at iO—Chicago’s home for longform improv and loads of angry women. When I got home I wanted to post something about the historic moment but didn’t know how, because the amount of equivocating we have to do in my sphere when we talk about Hillary, to avoid being called a shill, a whore, a dumb bitch voting with her vagina, would take away the

power, the joy, the hope I felt when I finally got to watch her speech.

We live in a nation that thrives on dichotomy. When trans rights popped up in the mainstream, so many people were utterly dismayed by the fact that there are more than just men and women, that gender is an identity that is nonbinary. They could not handle the challenge to their very black-and-white worldview. When we open ourselves up to the nuance and complexity of human life, it makes it harder to maintain cut-and-dried opinions.

It breaks down our talking points.

It forces us to think—which is the No. 1 thing Americans hate to do.

It’s our compulsive need for polarity that gives us a two-party system, gives us an absolutist political atmosphere bound by good versus evil. In my community that has been defined in this primary as corporate-shill-whore versus the second coming of Christ. Hillary didn’t get to be an effective leader, a vocal champion of progress around the globe, because she had to be an evil rich lady with corporate interests and a taste for Afghani blood.

We couldn’t acknowledge that, just like literally every president our country has ever had, Hillary Clin-

ton is a politician with a checkered record. Who has done both good and bad. Who has made mistakes, said things that range from the stupid to the horrible, aligned herself with shitheads and fucked up. But we don’t get the luxury of voting for perfect people, untainted by their climb to power, whose actions and values match 100 percent with ours.

We never have. Hillary isn’t the leftist I am, either. But an all-or-nothing mentality isn’t realistic in Real Life America. It just makes us feel good.

When Hillary Clinton is president she, like Obama, will do things that inspire and disgust me. She will make compromises that I hate. She will solve some seemingly insurmountable problems and ignore others. Ones I probably care about.

Why are we pretending this is new?

We hold Hillary’s heeled heels to a different kind of fire. It’s really three small fires burning together: 1) Good-versus-evil politics as usual. The other guy is always the bad guy.

2.) It’s the in thing to do. We consume more buzzwords than we do Big Macs in America, and like Big Macs we can’t help but regurgitate them.

Ñ Keep up to date on the go at chicagoreader.com/agenda.

SURE THINGS THURSDAY 14

FRIDAY 15

SATURDAY 16

SUNDAY 17

MONDAY 18

TUESDAY 19

WEDNESDAY 20

Ch icago Pin and Patc h Pop - up Enamel-pin collective GirlPinGang showcases pins and patches designed by local artists. Featured vendors include Creepy Co., Sabretooth Dream, Full Sweatpants, Lastcraft, Salad Days Pins, and more. 6-8 PM, Cafe Mustache, 2313 N. Milwaukee, cafemustache. com. F

× Windy City Smoke out Three days of live country music, beer, and BBQ from Dinosaur BBQ, Pappy’s Smokehouse, the Salt Lick, and more. 7/15-7/17: Fri 2-10 PM, Sat-Sun noon-10 PM, Grand and Chicago River, windycitysmokeout.com, $30$45, $110 three-day pass.

M Th is is Hell! 20th Anniversar y Pa rty The host of the WNUR political talk show This is Hell!, Chuck Mertz celebrates 20 years on the air. 3 PM, Cary’s Lounge & Liquors, 2251 W. Devon, thisishell.com. F

ï Vint age Garage Ch icago Stop by the vintage market in a parking garage, featuring live music

by Rosie & the Rivets. 10 AM-5 PM, Vintage Garage Chicago, 5051 N. Broadway, vintagegaragechicago.com, $5.

Burgers & Beer 5K There’s nothing like Shake Shack burgers and Begyle beer serving as motivation to finish a run. Vegetarian options are available as well.

7 PM, Soldier Field, 1410 S. Museum Campus, universalsole.com/burgers--beer-5k, $50.

· Michael Darling Art Talk The MCA’s chief curator leads a tour of “Witness,” an exhibition that explores the photographer’s role as an observer. Noon, Museum of Contemporary Art, 220 E. Chicago, mcachicago.org, $12, $7 students and seniors, free kids 12 and under and members of the military, free for Illinois residents on Tuesdays.

^ Summer Night Ma rket Stroll the roving pop-up foodie market for local goods and cold beer. Even if you don’t buy anything, you can enjoy the live music all the same. 6-11 PM, Thalia Hall, 1227 W. 18th, saucedmarket. com. F

8 CHICAGO READER - JULY 14, 2016

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3.) She’s a woman. We not only get to but need to acknowledge that. We’ve long raked her over the coals a little extra. It’s why we’re a more eager to call out her lies and misrepresentations even though fact-checkers confirm that she doesn’t do it that much. It’s why we salivated over her deeply stupid, offensive comment about Nancy Reagan. It’s why we punish her for doing the thing that is politics. It’s why we attack her for being ambitious and entitled to the presidency and celebrated Bernie for refusing to drop out of a race he’d lost.

We hate Hillary Clinton. We hate her. She’s done a hell of a lot more good than Bill, but we keep some love for Bubba. It’s Hillary whom we’ve always hated. Hating Hillary is on trend. Surely there are longtime Clinton haters with plenty of good reasons, but suddenly we all care about every bad thing she’s done, as though we always have, and we write about it on our computers built by children, while sipping coffee made from beans harvested by children, while wearing clothes made by children in ungodly conditions. We are not good. But hating Hillary lets us pretend we are.

At a rally for Donald Trump earlier this month in Greensboro, North Carolina, Jared Yates Sexton, writing for the New Republic, noted that the typical shouts of “Trump that bitch!” were accompanied by a disturbing new rallying cry: “Hang that bitch!”

It’s so popular to hate Hillary that we’ve even turned on Elizabeth Warren, the patron saint of progressive politics. Warren’s sin?

She endorsed Clinton, so she’s a sellout-shill-whore-turncoat.

If Clinton had failed to clinch the nomination after a little birdie landed on her podium, we would’ve seen a flood of Redditors posting pictures of birds with snapped necks accompanied by captions like “War hawk Hillary Clinton kills smaller bird over campaign failure” or “Killery wants us to believe bird snapped own neck” or “Vince Foster all over again.”

j CORINNE MUCHA

CITY LIFE

But she didn’t fail. She won the votes. So we say that the rules which Bernie and Hillary both understood, agreed to, and followed—however outdated or overcomplicated or unfair they may be—were not rules at all, but were the machine actively inventing ways to keep Bernie down. Bernie chose to use this system because he knows you can’t legitimately run as an independent. He used the system. He made that choice. He knew what it was. It was a sly, savvy political move, and he did well. But as Hillary won more and more, the rules they both signed on for were called voter suppression, rigging, more classic Clinton cheating. Hillary, who has a record of opposing real voter suppression like redistricting and ID requirements, was accused of it simply for, ya know, winning votes.

And this condemnation isn’t entirely because she’s a woman. As stupid as it is to say all of the criticism directed at Hillary is sexist, it’s equally stupid to say that all support for her comes straight from my vagina. I will tell you what comes from my vagina—a mucous membrane that enables penetrative sex which I enjoy, and I’m grateful for Hillary’s

commitment to my reproductive rights. Menstrual blood, which is currently filling my Diva Cup. I’m lucky I have access to products to aid in menstruation, and I’m glad that Hillary Clinton advocates for women worldwide to have access to these products as well, and that she fights to reduce the stigma surrounding menstruation. Sometimes there is cloudy discharge that may mean my vagina is sick, and I might need to go to Planned Parenthood to get affordable, judgment-free healthcare. I’m glad that Hillary stands with that organization.

I don’t vote with my vagina. I vote with a brain that understands what having a vagina means in this modern world. I also vote with a brain that believes Hillary Clinton when she says she’s listened to the criticism of the Trans-Pacific Partnership and agrees that it’s not a good thing. She changed her public stance on gay rights to match what I believe is her private position, something she did too late, something I think she hadn’t done earlier for political reasons. I vote with a brain that thinks that’s fucking shitty, but is horrified by the prospect of a president who believes he’s always right and never

yields. My parents were Republicans for 22 years of my life. They said and believed things I now find abhorrent, but they listened and they changed. I vote with a brain that respects that.

I vote with a brain that says “hell yes” to Clinton’s pro-EPA, proaff irmative action, anti-gun, pro-civil rights, pro-police reform, pro-women progressive platform. I support Hillary’s efforts worldwide to give education, skills, and financial independence to women, especially those in the developing world.

I vote with a brain that says, “Let’s challenge Hillary to continue moving further left on issues of incarceration, business, and the military.”

I vote with a brain that knows that real progress starts in local politics but can’t get anywhere if our country is run by a xenophobic, racist, misogynistic business failure with a bad tan. I vote with a brain that understands how dangerous a Trump presidency is. A brain that holds information about history, like the fact that a divided left helped a fascist come to power back in the 30s.

A fascist who promised to make his country great again. Who blamed problems on outsiders, religious minorities, and “others.”

“I’m done with the lesser of two evils,” you say. But I vote with a brain that knows taking your toys and going home to pout is one thing, but burning down the whole damn sandbox because you lost the game is a dangerous overreaction.

I vote with a brain that knows I don’t deserve threats of death and rape for acknowledging that Hillary Clinton isn’t all bad. Or for saying I’m excited that she’s going to be the first woman president.

That I am now firmly, proudly, and excitedly with her.

When I finally did post something on Facebook, the place where I have most of my interactions with other human beings, I did equivocate, perhaps too much, because I too had to come around on Hillary after I voted Bernie in the primary. I understood her faults and failures, which are real and deserving of criticism, but

hadn’t bought into the narrative that she’s “just as bad” as Donald Trump. I braced myself for a shitstorm, like the one I experienced when I dared to call out the Bernieor-bust movement. But that didn’t come; my post was met mostly with thank-yous.

I also saw a lot of people say, “I’m good with a woman president but not this one. I wish she wasn’t so tainted.” As if she’s the first flawed person to run for this office. As if her flaws make her at all unique.

We simply hold women to a higher standard. We compare them to each other in more false dichotomies— Clinton versus Warren, Beyoncé versus Rihanna—when really we need them all. As Hillary came up in the political world, she deferred, compromised, and fudged on her own beliefs to get ahead. Gross.

Normal. Real. She got ahead and now the world is a little different, and now we get to have Elizabeth Warren who speaks openly and honestly. And I hope she’s our next vice president.

I remember the days when it seemed like Obama was going to be president forever, and a united left shared memes of Hillary on her BlackBerry because she was cool.

We all thought she was a badass motherfucker at the 11-hour Benghazi hearing. We forgot Bill was even a thing until we’d see a picture here or there of what we at first thought was a candle melting into a troll. Hillary’s approval ratings during her tenure as a senator were high, and then as secretary of state they were higher. When she runs for office, though, they’re low. Maybe because “secretary” is a girl job, and running for president—and having the confidence and ambition to do so—is for boys. v

This essay was first performed in The Paper Machete, the live magazine hosted by Reader contributor Christopher Piatt at the Green Mill (4802 N. Broadway) on Saturdays at 3 PM. For more info, go to thepapermacheteshow. com.

JULY 14, 2016 - CHICAGO READER 9

CITY LIFE POLITICS

Killing a cop is a horrible crime— but it’s not a hate crime

Even the Dallas tragedy is a poor rationale for a “Blue Lives Matter” law in Chicago.

By DERRICK CLIFTON

T

he country is reeling. The fatal shooting of five Dallas police officers came while they patrolled a peaceful protest against police violence. Five other cops and two civilians were also wounded, according to the Dallas mayor’s office. It’s a tragic, saddening act of violence that’s likely to inflame already heated tensions over race and policing.

Just a few days prior, the final moments of two more black people killed by police—Alton Sterling in Baton Rouge, Louisiana, and Philando Castile in Falcon Heights, Minnesota—were both captured on video, allowing the world to bear witness to these miscarriages of justice.

Sterling’s demise came just weeks after lawmakers in Louisiana enacted a “Blue Lives Matter” law, which added police officers and first responders to the list of groups protected by hate crimes statutes.

The state was the first in the nation to do so. Now, a similar measure could become law in Chicago, if the City Council approves an ordinance recently proposed by 14th Ward alderman Ed Burke. It’s co-sponsored by a number of aldermen who, like Burke, are former police officers and firefighters.

In the coming days, this detestable attack in Dallas will surely become a political rallying cry. Even so, the City Council should not pass this law. Killing or assaulting a police officer is a horrible crime—but it shouldn’t be classified as a hate crime.

Hate crimes laws were created to stiffen penalties for crimes against

individuals or groups based on immutable identities, such as race, ethnicity, sexual orientation, or gender identity. Legal protections like these, which were enacted as far back as the Civil Rights Act of 1968, were put in place for people who have been subject to decades, if not centuries, of violence because of who they are. For black people in particular, that’s historically included the specter of vigilante lynchings, death threats during school desegregation, physical intimidation at the ballot box, and even terrorist attacks on black businesses and churches such as what transpired last summer in Charleston. These crimes are fueled by supremacist hate based on characteristics that people cannot change, or, in the case of religion, should not be forced to change because of fear or intimidation.

Police officers are doing a job, a difficult job that comes with grave risks. Officers and emergency responders constantly put their lives on the line. Still, it’s a job—not an identity category. If a sniper mows down police saying he hates all cops, it’s a crime fueled by hate—but it’s still not a “hate crime.”

There’s no parallel between the occupational hazards faced by police and the violence aimed at protected groups based on their immutable identities. You can quit your job as a police officer, but you can’t quit your race.

Burke and other proponents say the ordinance is about protecting officers. Yet Illinois law already carries felony-level penalties and fines up to

10 CHICAGO READER - JULY 14, 2016

$25,000 for people found guilty of assaulting a law enforcement official or emergency worker.

Blue Lives Matter laws also imply that, because of protests and shifting public opinion, police officers now face dangers beyond the risks already associated with their jobs.

But even with the tragedy in Dallas, recent statistics debunk the notion that police officers face widespread attacks.

As the Guardian has previously reported, police fatalities have decreased steadily from a peak of about 127 annually in the 1970s to 41 in 2015—a 12-year low. By contrast, the Guardian’s police shootings database shows that police in the U.S. killed 1,146 people last year. Per those numbers, black people were more than twice as likely as white people to be shot and killed by police, and a total of 79 unarmed black people were killed by police or died while in custody.

Statistically speaking, it’s still more dangerous to be black in America than it is to be a cop.

So, then, what are these proposals really about? Reading between the lines of the bill in front of the City Council, it appears to be about undermining, intimidating, and silencing protesters.

The ordinance doesn’t just make it a hate crime to assault a police officer. The proposal also contains many other sleights of hand designed to keep protesters at bay.

Burke’s amendment would make it a hate crime to display “animosity” or “hostility” toward police officers on the basis of their occupation.

From top: Chicagoans protesting police misconduct on July 11; a memorial to fallen officers in front of police headquarters in Dallas; Philando Castile’s girlfriend, Diamond Reynolds, speaks to a crowd July 7 in St. Paul, Minnesota. ò APRIL ALONSO; STEWART F. HOUSE; STEPHEN MATUREN

What exactly does that mean? Will using a bullhorn at a protest and shouting chants in the direction of police be construed as “hostility”?

Will disrupting traffic, as protestors did over the weekend, be seen as “trespassing,” also forbidden by the amendment? Will tweeting concerns about police brutality come to be read as hate speech?

The wording and terms are so broad

that people engaged in all kinds of constitutionally protected speech could find themselves charged with a hate crime.

Organized protests aren’t to blame for the police deaths in Dallas.

Before shots rang out the protest was peaceful. And after, video footage shows protesters running for cover, afraid for their own lives.

In a statement following the Dallas

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CITY LIFE attack, the national Black Lives Matter organization said, “Black activists have raised the call for an end to violence, not an escalation of it. Yesterday’s attack was the result of the actions of a lone gunman. To assign the actions of one person to an entire movement is dangerous and irresponsible.”

Yet that’s exactly what’s taken place on social media. In one noteworthy example, former Illinois congressman Joe Walsh said in a now-deleted tweet, “This is now war. Watch out Obama.

Watch out black lives matter punks.

Real America is coming after you.”

One can protest against racial injustice, and proclaim that black lives matter, while finding the Dallas attack deplorable and empathizing with the victims and their families. Crying out against police misconduct isn’t a call for violence against police officers; it’s about demanding accountability from government and law enforcement agencies where that accountability has otherwise been elusive.

Blue Lives Matter bills, however, derail that process by attempting to conflate job-associated risks with the everyday social and institutional indignities faced by black people and other historically disenfranchised groups.

And in Chicago, it flies in the face of the Police Accountability Task Force’s findings that the department must directly deal with the racism that has undermined the public trust.

In a June 28 speech at the City Club of Chicago, police union president Dean Angelo Sr. said officers feel like “second-class citizens” because of an unprecedented “level of disrespect.” As the Tribune reported, Angelo claimed that people are taking smartphone videos of police officers in hopes of a “payday,” adding “officers are baited regularly and literally, literally called every name in the book . . . just to get a reaction.” He also noted, “Perceptions are real, and this is how they feel.”

But if Alderman Burke and his City Council peers seek more respect for police and emergency workers, the proposed Blue Lives Matter ordinance isn’t the way to find it. v

v @DerrickClifton JULY 14, 2016 - CHICAGO READER 11

CITY LIFE A memorial for Virginia Murray was held on July 10 at the Avondale corner where, while riding a Divvy bike, she was struck and killed by a truck driver. ò DONTE TATUM

TRANSPORTATION

When tragedy strikes

In the past 30 days, two bicyclists died in Chicago and at least 11 were injured.

By JOHN GREENFIELD

I

n early June, I noted that there had been no fatal bike crashes so far this year in Chicago. “I’m crossing my fingers that this year’s good luck streak continues,” I wrote.

Tragically, it didn’t. Since then, two people have lost their lives while biking in Chicago.

I’ve also heard of at least 11 collisions that occurred since June 12 that resulted in injuries, many more than usually cross my desk in a month. At least three of those incidents resulted in serious injuries.

Anecdotally, this seems to be an unusually high number of bike crashes for a 30-day period. But it’s a difficult thing to prove, since collisions that don’t result in serious injuries or fatalities often go unreported. And while the Illinois Department of Transportation is responsible for documenting local crashes, the agency doesn’t release its findings until about two years after the fact.

So going by the anecdotal evidence, if there has indeed been an uptick in bike crashes, what factors are to blame? And what should we be doing differently to bring these numbers down?

The first crash of the recent wave to draw

12 CHICAGO READER - JULY 14, 2016

widespread attention was the June 15 death of 29-year-old courier Blaine Klingenberg, who was fatally struck by tour-bus driver Charla A. Henry during the evening rush at Michigan and Oak. The second fatality occurred July 1 around 9 AM, when a 28-year-old male flatbed-truck driver struck 25-year-old Virginia Murray while she was riding a Divvy in Avondale.

Video from a nearby gas station’s security camera shows the truck was facing north on Sacramento, stopped at the light at Belmont.

As Murray rode up to the right of the truck, the light changed and the driver turned east, striking her. The driver, who works for nearby AB Hardwood Flooring and Supplies, has so far been issued only a citation for not having the proper driver’s license classification to drive the truck.

Until a few weeks ago Murray worked in marketing for Blue Cross and Blue Shield of Illinois, a Divvy sponsor. She had been preparing to apply for graduate school in library sciences. A spokeswoman for Blue Cross described Murray as “an avid Divvy supporter, a wonderful employee, and a special person.”

The first of the three crashes that resulted

in serious injuries took place on June 21 at the intersection of Wilson and the Lakefront Trail.

At around 7:20 PM, a 61-year-old man who has not been named by police was bicycling north on the path and was critically injured by an eastbound SUV driver as he crossed Wilson.

The driver, Liliana Flores, 32, received three traffic citations.

On the evening of June 26, Nick Fox, a popular employee of Obbie’s Pizza in Garfield Ridge, was struck by two freight trains on railroad tracks near 60th and Narragansett while biking home from a church carnival. Fox, 52, suffered a broken pelvis and bleeding on the brain.

On July 3, around 9:45 AM, a 21-year-old man was biking north on the 3500 block of North Damen in Roscoe Village, when a female motorist opened her door in the man’s path, causing him to crash. The door edge cut the man’s neck; he was bleeding profusely when off-duty police officer Sean Hayes arrived and performed first aid to stem the hemorrhage until paramedics showed up, possibly saving the man’s life. Although dooring a cyclist in Chicago carries a $1,000 fine, it appears the driver was not ticketed, according to Police News Affairs.

Bike-focused attorney Michael Keating (a Streetsblog sponsor) says his firm has received multiple requests for representation from crash survivors in recent weeks. “A simple [explanation] would be that with warmer weather there is an increase in the number of bicyclists in Chicago,” he says. Cheap gasoline, and the resulting increase in driving, may be another factor. “But my sense is that many of these crashes involve a lack of respect for the bicyclist and their right to the roadway,” Keating says.

He’s particularly concerned about so-called “right-hook” crashes, like the one that ended Murray’s life. “The reason that these types of crashes are so common is simple: the motorist does not see the bicyclist even though they have the opportunity to do so,” Keating says.

“The motorist typically makes the turn without ever checking for other traffic—including bicycles.”

CDOT spokesman Mike Claffey wouldn’t speculate as to whether there’s been an uptick in crashes this summer, but says that “one life lost in a traffic crash is unacceptable, and these two recent fatal crashes are a sad reminder that life-altering events can occur at any mo-

ment,” referring to the deaths of Klingenberg and Murray. “Our goal is to reduce serious injury crashes and eliminate fatal crashes for all users of the roadway.”

Active Transportation Alliance advocacy director Jim Merrell addressed the recent series of bike crashes in a blog post last week. Each year about 3,000 people are injured while biking in the Chicago region, he noted, and about 15 are killed. Still, biking in Chicago actually appears to be getting safer, Merrell wrote.

While the percentage of trips to work made by bike has increased by about 200 percent since 2000, the number of crashes has stayed about the same, which means that the crash rate has been declining.

“These recent events should not discourage us from working to promote biking and walking, but steel our resolve to do better,” he wrote.

The Active Transportation Alliance has been pushing the city to adopt a “Vision Zero” plan to eliminate traffic deaths, similar to the plans adopted in cities such as New York.

CDOT is expected to produce a preliminary Vision Zero plan this fall. Active Trans is also advocating for more state funding for “Safe Routes to School” programs that create better walking and biking infrastructure around schools and educate kids about traffic safety.

One person who urgently wants to see the crash epidemic come to an end is Avondale resident Anthony Arce, 32, who delivers food by bicycle and car. He was driving to work on Belmont when he saw the flatbed driver run over Murray.

Shaken by what he’d witnessed, he broke the news on a local bike-selling forum, and asked if anyone could donate an old cycle so that he could install a white-painted “ghost bike” monument at the site to honor the fallen rider. Kristen Green, a board member of the South Chicago Velodrome Association, provided an old Schwinn cruiser with a stepthrough frame, not unlike a Divvy.

A relative of Murray’s reached out to Arce, Green, and other organizers to give the project the family’s blessing and ask that the installation ceremony be rescheduled to July 10 from July 7, the date of the funeral, so that loved ones could attend.

Murray’s case is personal for Arce. “When I saw Virginia on the ground, I just kind of lost it,” he says. “It was a block away from my house. That could have been me.” v

John Greenfield edits the transportation news website Streetsblog Chicago. v @greenfieldjohn

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Victor Almanzar and Eamonn Walker ò MICHAEL BROSILOW

THEATER

A crime without motive

By JUSTIN HAYFORD

E

ight years before the pivotal summer depicted in Between Riverside and Crazy, Walter “Pops” Washington, a 30-year veteran of the New York City Police Department, sat drinking in a bar at 6 AM. Soon thereafter a uniformed officer entered the place and unloaded all six of his revolver’s bullets into Washington. Washington, who’s African-American, sued, and since then the proud, angry, preternaturally defiant man has refused multiple settlement offers from the city, because they all stipulated that no one was at fault in the shooting—and Washington insists the officer called him a nigger before opening fire, although no one can corroborate his allegation. Thus he squanders endless time and money on a case we’re told he surely can’t win, jeopardizing his health, his financial stability, and ultimately his ability to remain in the rent-controlled apartment on Riverside Drive where he’s lived since 1978.

It’s the sort of ripped-from-the-headlines catalyst that should give Stephen Adly Guir-

gis’s Pulitzer Prize-winning topical drama (which Steppenwolf curiously advertises as a “twisty, raunchy comedy,” although it’s none of these) a palpable urgency and credibility from its opening moments. But it doesn’t. And not only because Guirgis spends the first two lengthy scenes allowing his main characters— Washington, his ne’er-do-well ex-con son Junior, Junior’s ne’er-do-well ex-con friend Oswaldo, and Junior’s generally clueless girlfriend Lulu—to do little but sit around and demonstrate their personalities, as though nothing particularly pressing is going on in their lives. But mostly because Guirgis makes a critical omission: he never tells us how the officer justified the shooting. Admittedly officers don’t need much justification these days, as recent events have repeatedly shown. Still, Guirgis’s officer needs something to convince a jury the shooting was justified, or at least convince the audience that Washington’s got a hopeless case. Without it, we’re asked to accept on faith that a cop can open fire in a bar, grievously injure a middle-aged fellow officer,

and suffer no legal ramifications, or even, it seems, a backlash of public opinion.

The only backhanded justification for the shooting comes not from the officer who shot Washington (whom we never meet) but from Washington’s former partner, Detective O’Connor, and her fiance, Lieutenant Caro.

They come to the apartment twice—diplomats in act one, enforcers in act two—to try to convince Washington to accept the city’s meager settlement offer. They insist that if he hadn’t been in that bar at that hour, a place known as a haven for prostitutes and criminals, he would never have been shot. The fact that O’Connor and Caro are white understandably raises Washington’s ire and further convinces him that the white establishment will always see him as expendable. But dramatically, the accusation is no help at all. Guirgis asks his audience to believe that two experienced cops, one of whom hopes Washington will walk her down the aisle at her wedding, don’t bother to wonder what might have actually happened to cause a fellow officer to use deadly force.

Sitting in a shitty bar seems to be enough for them. Perhaps we’re meant to believe it’s enough for a jury as well.

So we’re left with no way to believe that Washington’s plight is as dire as Guirgis needs it to appear. And that plight is the play’s reason for being.

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And so it goes throughout Guirgis’s twohour-plus drama, where most things are provocative and potent but never quite convincing. Junior has moved into his father’s apartment, ostensibly to take care of the old man, and it seems Guirgis wants to turn their iconic relationship—the insurgent son taking on the impotent patriarch—into a core dramatic arc. But Junior does little except seethe over past resentments or profess his love and admiration for his father, then run off for a long weekend in Baltimore for no useful reason. The father-son relationship is outlined rather than developed, making the pair’s final showdown late in act two largely inconsequential.

Likewise, Junior and Lulu’s relationship, which also doesn’t develop much, must be intended to carry some dramatic weight, as Guirgis devotes an entire scene to an argument between the two that threatens to break them up. But nothing between them is volatile enough to produce any meaningful repercussions. Even the fact that she lies about being pregnant is ultimately irrelevant.

After an inadequate build-up, Guirgis delivers a finale that strains credulity beyond repair. The details of the city’s final settlement offer are mostly ludicrous (city officials can somehow expunge Junior’s entire criminal record, for starters). Oswaldo, who relapses in act one and commits a serious violent crime while he’s on parole, is back in the fold only a few months later, excitedly going on job interviews. And Washington’s final flight to freedom seems tacked on from another play entirely.

Between Riverside and Crazy is hugely unsatisfying given the important issues it attempts to tackle. But one can hardly find fault with Steppenwolf ’s finely executed production. Under the always sure hand of director Yasen Peyankov, the acting is mostly up to Steppenwolf’s high standards, although Eamonn Walker’s Washington tends to operate in only three distinct modes: bitterly withdrawn, indignantly explosive, and pathetically injured. Scenic designer Collette Pollard’s well-worn apartment provides just the right touch of exhaustion and despair. And Peyankov’s pacing gives the evening a sense of catapulting inevitability, even when Guirgis unnecessarily belabors certain plot points. But nothing disguises the fact that the playwright can’t make his potent material matter. v BETWEEN RIVERSIDE AND CRAZY Through 8/21: Tue-Fri 7:30 PM, Sat-Sun 3 and 7:30 PM, Steppenwolf Theatre, 1650 N. Halsted, steppenwolf.org, $52-$86.

JULY 14, 2016 - CHICAGO READER 13

ARTS & CULTURE

THEATER

A little punk attitude, With a Wink and a Nod a lot more PBR Cartoonists of the Gilded Age on view through January 8, 2017

40 East Erie, Chicago IL

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312-482-8933

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DriehausMuseum.org

Salonathon cofounder Jane Beachy ò COURTESY

SALONATHON

By TONY ADLER

I

began hosting events like Salonathon many years ago in my unfinished basement in Seattle,” Jane Beachy wrote recently, in a curatorial statement explaining the origins of her Monday-night performance series.

“Frustrated by the feeling that my own creative impulses as well as those of the hilarious, talented, and fascinating people around me were being thwarted by practical concerns, I built a ramshackle theatre out of mismatched chairs and some wicker blinds. . . . I asked my roommates to let me have a huge party, and then we invited everyone we knew into our basement.”

She was, she continued, “Peter Brooking it”—a reference to the Brit director for whom the essence of theater is an empty space, an action, and someone to bear witness—“but with a little more of a punk attitude and a lot more Pabst Blue Ribbon.”

Beachy took the concept with her as she moved around the country, ultimately starting the actual Salonathon here in Chicago.

A variety show dedicated to “underground, emerging, and genre-defying art,” it’s been happening since 2011 at Beauty Bar.

And that’s where a special five-year anniversary edition convenes Monday, starting at 8 PM (with a dance party after).

Beachy says by e-mail that she and cocurators Bindu Poroori, Joe Varisco, and Will Von Vogt tried to line up the “perfect balance of artists who have been with us since the very beginning, artists who have really knocked our socks off this past year, artists who represent the wonderful diversity of our communities, and artists who represent (or defy?) different creative genres.”

Sure enough, the 16-act roster covers a lot of territory, from burlesque (Erin Kilmurray, Jeez Loueez) to poetry (Bea Cordelia, Raul Alvarez), tongue-in-cheek Andrews Sisters-style close harmony (Babe-alon 5) to postgender dance (Darling Shear) and queer comedy (Tien Tran). A probable highlight: an excerpt from Moon.stone, a “visual song cycle” currently under construction by the gifted Alexa Græ, who calls Salonathon her “church.” v Salonathon Mon 7/18, 8 PM, Beauty Bar, 1444 W. Chicago, salonathon.org, free, 21+

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ARTS & CULTURE

COMEDY

Sarah Sherman puts the ‘I’ in ‘squirm’

By BRIANNA WELLEN

A

s a high schooler in Long Island, Sarah Sherman was given the nickname “Squirm” because she was “really skinny and gross and squirmy.” The name stuck, but it’s since taken on a different meaning: the comic is now known for her absurdist, grossout stand-up. She will handle a bag of her own pubes, or chug a can of clam chowder. And her show, Helltrap Nightmare, encourages others to embrace the “squirm” in themselves.

The performers who take ownership of their vile behavior at Helltrap are mostly women and people of nonbinary gender. “Being a woman, you’re made to feel gross about things that are gross about you,” Sherman says. “People perceive the female body as grotesque. I’m trying to own that grotesqueness as a trophy through comedy.”

Helltrap Nightmare feels like something that would be right at home with the nonsensical videos Adult Swim plays in its 2 AM slot, a place reserved for bizarre comedy that often makes viewers uncomfortable before it makes them laugh. Past nights have featured comic Carly Ballerini performing a stand-up set as a drunk clown who makes balloon animals, and noise artist Forced Into Femininity crawling through the crowd while covered in trash bags. The lineup frequently unites comics and noise musicians; to Sherman, the similarities between the mediums are obvious. “Noise is just harsh insanity,” she says. “That’s kind of

what stand-up is: mostly really depressing people literally living out their worst nightmare in front of you.”

Sherman also creates the posters for every show: trippy horror-themed drawings of women made out of seafood and raw meat.

The artwork for the upcoming event at the Hideout is a photograph of a bright-red Sherman covered with a few stragically placed shrimp as she poses with two pig heads—it’s a fair warning of what to expect from the comic onstage. She hopes to incorporate more visual and performance art into future appearances—and find those episodes a home on the Internet—providing more opportunities for performers who don’t neatly fit into standard definitions of “comedy” or “music.”

Even though Sherman has been seriously doing stand-up since only November 2015, she’s turned her own nightmarish onstage persona into a distinct point of view that earned her a spot in the Lincoln Lodge’s 2016-2017 cast and the title of “Best stand-up comic” in the Reader’s Best of Chicago 2016 readers’ poll. But she’s not changing her ways for more mainstream stages. “You will be terrified,” she says. “I will use a larger platform to disgust more people.” v R HELLTRAP NIGHTMARE Wed 7/20, Hideout, 1354 W. Wabansia, hideoutchicago.com, $7.

Jul y 21 ST - July 24 T H 4 DAYS , 16 SHOWS , TOO MANY COMICS Greg Pro op s • Eddie Pepitone Mar ina Franklin • Rhea Butcher Megan Gail ey Fe a t ur ing co mics f rom C o me d y C en t r al, M TV, Co nan, The Tonight Show, L a t e N ight w it h Set h Meye r s , Co m ed y Bang ! Ban g! , L as t Comic St an d in g, B ob’s B u r g er s , an d more.

SCHUBAS • THE HIDEOUT • LINCOLN HALL

comedyexposition.com

v @BriannaWellen JULY 14, 2016 - CHICAGO READER 15

ARTS & CULTURE

U VISUAL ART

Outsider revisited

By NISSA RHEE

16 CHICAGO READER - JULY 14, 2016

pon its opening in 1982 at the Corcoran Gallery in Washington, D.C., “Black Folk Art in America, 1930-1980” shook the art world. The show was the first to highlight the work of self-taught black artists and introduced curators to an “undiscovered” scene that flourished in close-knit black communities in the South. To many black artists, however, the Corcoran show reeked of marginalization. Many significant black folk artists were excluded, and some challenged the distinction Corcoran made between fine art and folk art. When the exhibition came to Chicago in April 1984, instead of being shown at an art gallery it was displayed alongside cultural artifacts at the Field Museum. Despite the odd location, the show inspired collectors in Chicago to learn about and purchase more outsider art.

“If not for that show, there might not have been Intuit,” says curator and artist Faheem Majeed, referring to the Chicago gallery that is the only nonprofit in the country dedicated to presenting outsider art. “It was that show that galvanized and brought up these collectors.”

In honor of Intuit’s 25th anniversary, Majeed revisits the Corcoran event in “Post Black Folk Art in America 1930-1980-2016,” in which he tries to channel the excitement of the original exhibit while addressing some of the earlier criticism. Alongside the work of 16 participants in the 1982 show, he showcases pieces by 30 new artists, whom he discovered while traveling the country and combing through the work of more than 250 self-described black folk artists.

Among the additions is Thornton Dial (1928-2016), who’s considered one of the most

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ARTS & CULTURE

From opposite left: Thornton Dial, Royal Flag, 1997-1998; Derek Webster, Red Ryder, 1987; Lonnie Holley, Working on Milwaukee Avenue, 2007 ò STEVEN PITKIN; COURTESY INTUIT

important self-taught artists in America but was overlooked by Corcoran’s curators. Like much of the Alabaman’s work, Royal Flag is a collage of mostly found objects, including an American flag, toys, and string. The result is a tattered mess of red, white, and blue that, Majeed says, speaks to Dial’s lifelong critiques of racial, political, and religious issues in the U.S. Tennessee artist William Edmondson (18741951) was the first African-American artist to have a solo exhibition at the Museum of Modern Art. Some of the former tombstone carver’s sculptures were included in the Corcoran show, but not his statuette Angel, which would be as fitting in a graveyard as in an art gallery.

In the three decades since “Black Folk Art,” outsider art and the work of black artists are no longer the purview of niche collectors.

Earlier this year, Christie’s set a record for

auction price of a piece of outsider art with the sale of a sculpture by Edmondson. Still, the terms “outsider art” and “black folk art” remain contentious. Several of the artists Majeed approached thought the latter designation was insulting and didn’t want to be included in the show. That apprehension is familiar in the realm of outsider art, a fluid genre in which collectors and curators often disagree on which works qualify.

“The right answer is just to call it art,” Majeed says. “The qualifier is problematic.” v R “POST BLACK FOLK ART IN AMERICA 1930-1980-2016” Opening reception Fri 7/15, 5:30-8:30 PM. Through 1/2/17, Intuit: The Center for Intuitive and Outsider Art, 756 N. Milwaukee, 312-243-9088, art.org.

v @nissarhee JULY 14, 2016 - CHICAGO READER 17

ARTS & CULTURE

SMALL SCREEN

Taxicab misconceptions

By DMITRY SAMAROV

LIT Riz Ahmed as Nasir “Naz” Khan in The Night Of ò HBO

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hat good is a procedural drama when it gets the procedures wrong? HBO’s The Night Of is based on the British show Criminal Justice, reset in present-day New York City by show cocreators Richard Price and Steven Zaillian. The story concerns Nasir “Naz” Khan (Riz Ahmed), a naive young man who borrows his father’s taxi to go to a party and winds up being accused of murdering a girl he takes home. Price made his name with violent urban narratives, like his novel Clockers, for which he has done first-person research (such as police ride-alongs) to get the details right. Based on my 12 years as a cabdriver it looks like Price didn’t spend a minute riding in cabs or talking to cabdrivers, and it demonstrates the ways in which The Night Of strikes out.

The cab is literally and figuratively the vehicle that escorts Naz on his harrowing misadventure, so the way it works is crucial to transport the audience along with him. Naz is a 23-year-old college student whose father has been a cabdriver his entire life, yet after he creeps out of his house, he gets behind the wheel as if he’s never been in the taxi before.

Naz has no idea how to turn off the “on duty” light, which makes people try to flag him down as he drives aimlessly around Manhattan looking for the address of a party. This plot point exists in order to put the eventually murdered girl inside the cab, but makes no logical sense.

Why would Naz not know how cabs work if he’s spent his whole life around them? Naz’s naivete is the key attribute that lands him in

18 CHICAGO READER - JULY 14, 2016

the mess he’s in, but his ignorance is implausible and makes it nearly impossible to follow much of what happens afterward. Were this the only thing the show got wrong, it might be forgivable, but it proves to be the first in a series of misguided turns.

As the setting shifts to Rikers Island, new characters are introduced, but they’re props that are meant to teach Naz life lessons rather than full-fledged human beings. A jailhouse sage (played by Michael K. Williams) takes Naz under his wing for no discernible reason other than the fact that he’s relatively well educated.

His bottom-feeding lawyer (John Turturro) is an ugly caricature more obsessed with his eczema-ridden feet than criminal justice. Naz’s parents are barely sketched, hardworking immigrant types who dutifully believe in his innocence but aren’t given much else to do. Everyone else, whether in jail, court, or the police station, is a variation on a character portrayed more distinctively in other TV shows.

Ahmed, with his terrified deer-in-theheadlights stare, is convincing as a kid caught in the wrong place at the wrong time, but nothing that he does nor anyone he meets makes what happens to him believable in the slightest. Whether Naz turns out to be guilty or innocent, few of the stages in his journey ring true as anything but plot points in an overwritten screenplay. As soon as he gets into his father’s cab as if he’s never even seen it before, Naz’s story becomes a car driving against traffic, not bothering to correct its course. v THE NIGHT OF Sundays at 8 PM on HBO

Stunted growth

By AIMEE LEVITT

THERE IS NOTHING natural about being a grown woman. It’s a constant, mysterious process. Even those of us who profess not to give a shit live in a state of vigilance. Stray hairs must be plucked or waxed or shaved into oblivion. Our boobs must be harnessed.

Do our buttocks have a pleasing shape? Is our lipstick the most flattering shade for our skin tone? How many things are we fucking up without even realizing it?

The cover of Jessi Klein’s new book, You’ll Grow Out of It, endearingly mimics the pamphlets that were distributed to pubescent girls in the 70s and 80s to guide them through the passage to womanhood. (These were usually published by manufacturers of feminine-hygiene products.) You will bleed, the books told us, your moods will change unexpectedly, and you will get pimples, but at the end of it, you will be shapely and graceful and rewarded by attention from boys! Womanhood is great!

Those pamphlets, in case you never had to read one, were total bullshit. Womanhood can be great, but it’s also a minefield. In the essays in You’ll Grow Out of It, Klein, the Emmy-winning head writer of Inside Amy Schumer and a stand-up comedian in her own right, describes how she learned to live with the notion that being a woman is not

something you are, it’s something you do.

For a long time, she was blissfully unaware. As a college student, she writes, “while the girls around me were starting to exercise, hunching over a StairMaster in the way that people did in the ’90s, sensing, as they should have, that now was the time to start laying a foundation upon which firm booties and high tits would remain forever tightly slung, I wasn’t aware that any such activity was necessary.” A few years later, a boyfriend comments on her unpainted toenails and “I felt a pang of primal shame, the female grooming equivalent of Eve suddenly losing her innocence upon realizing she was naked, like a total idiot.” She is a “tom man,” she realizes, and a tom man not as adorable as a little pigtailed tomboy.

At 30 she decides she’s tired of dating immature man-boys and that to attract a Grown Man she needs to give up her tomman ways and start acting like a Grown Woman. “But when I looked at what it would mean to become a woman—one of those standard grown-up ladies, like the ones from commercials for gum or soda or shampoo— it all seemed to involve shrinking rather than growing.”Yes! I thought as I read this. I totally agree! Let’s discuss this more! But the essay ends there.

In subsequent pieces, Klein discusses other things meant to appeal to grown-up ladies—lingerie, Anthropologie, Pure Barre— and how they sell the idea that if you buy enough products you too may be able to maintain an image of perfect commercialized femininity.

The essays share a common theme: no matter how many knee bends Klein does at barre class or how many gauzy tops she buys at Anthropologie (which she sincerely loves), she can’t change her essential nature. At heart she belongs to the tribe of wolves, as opposed to poodles; like their canine counterparts, the two share some DNA, but poodles, she explains, are “magical lovely women who inherently radiate femininity.” It’s not about beauty: “There are millions of beautiful wolf women out there. It’s how much of the beauty feels like work, like maintenance,” she writes. “I often wonder, if I would wave a wand and magically transform myself from a wolf to a poodle, would I? Most of me says no. . . .

My whole life is about trying, about speaking up in order to be seen, about howling with laughter or howling out how I see the world. But there is another part of me that

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THE LEGEND OF TARZAN ss

ARTS & CULTURE

Directed by David Yates. PG-13, 110 min.

Get showtimes at chicagoreader.com/movies.

immediately yells, Yes, I would give anything to feel that poodle confidence, to feel comfortable as a woman.”

Are poodles actually confident that they’ve mastered the unwritten rules of womanhood? I wondered. I hoped Klein would find a poodle and ask her for me and then analyze her response. It is such an interesting question, how some women manage to perform femininity more naturally than others. And does a successful performance require shrinking rather than growing? But instead, as she does in the “tom man” essay and almost every other piece in the book, Klein ends a few sentences after arriving at the main point, leaving me with no answers to all the questions she just raised, only a new way to identify myself. (I too am a wolf, I too am not a bit tamed, although I have been known to shop at Anthropologie.)

It’s true Klein is a comedian, not a gender theorist, and it’s possible she’s approaching essays like an improv performer, setting the scene and doing a few riffs before handing it off to the reader to continue the line of thought on her own with a “yes, and.” It’s like the beginning of a beautiful all-day Gchat conversation. On a sentence level, her writing is hilarious and smart, sometimes even brilliant.

But the underlying feature of the book as a whole is laziness, as though Klein squeezed in writing the chapters between her many other responsibilities. The riffs alternate with more personal stories about bad boyfriends, trips to spas, and the agonies of waiting for a marriage proposal and or a pregnancy. These are arranged according to no particular logic: the infertility piece, for instance, is completely devoid of suspense because the essay immediately before it is called “Get the Epidural” and the one before that is, in part, about breast pumping at the Emmys.

(This is, it must be said, close to the ultimate in wolfishness.) I so wish someone, either Klein or her editor, had put more care into the whole project and let some of those brilliant ideas develop from quick observations to genuine reflections on the state of being a woman. But even for an idea, growing up is hard. v YOU’LL GROW OUT OF IT By Jessi Klein Reading Thu 7/14,

Alexander Skarsgård in The Legend of Tarzan

MOVIES

The ape man’s burden

By LEAH PICKETT

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11 AM, Standard Club, 320 S. Plymouth, 630355-2665, andersonsbookshop.com, $40.

arzan is one of the most widely known and frequently iterated characters in modern media history, having been the subject of more than 30 books, 50 films, and various other entertainments since his creation, by writer Edgar Rice Burroughs, over a century ago.

Elmo Lincoln was the first actor to portray Tarzan, in three silent films, as a kind of eroticized white native in a headband; later Johnny Weissmuller, who donned Tarzan’s loincloth in 12 films throughout the 1930s and 1940s, made chiseled abs, white-god status over African tribes, and the undulating “Tarzan yell” part of the character’s cinematic signature.

Indeed, the tale of the man raised by apes, tamed by love, and civilized by society has been told ad nauseam, though usually not well—which leaves room for David Yates, who directed the last four Harry Potter movies, to make a strong case for reinvention. His adaption is visually stunning and more racially sensitive than most, yet even he continues the tradition of presenting Tarzan as the paternalistic white savior of the jungle; while

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the American soldier, politician, and journalist George Washington Williams—an impressive historical figure shoehorned into the film as Tarzan’s sidekick—represents another old stereotype: the cowering black man offering the white hero comic relief and words of wisdom.

In this telling the hero (Alexander Skarsgård) has been living in Victorian England for nearly a decade with his wife, Jane (Margot Robbie), when he’s lured back to the jungle by an envoy from the King of Belgium (Christoph Waltz). Inspired in part by Joseph Conrad’s Heart of Darkness, the narrative incorporates actual events and people into the established Tarzan lore, which adds historical heft and complexity. Rather than focusing solely on the Lord of the Jungle’s hoary origin myth or his Pygmalion-like makeover in the United Kingdom, the film centers on King Leopold II’s horrific regime in the Congo—he collected a fortune in rubber and ivory through the wholesale exploitation of Congolese natives—and its devastating effect on humans and animals alike. It’s a bold choice for such commercial fare.

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Unfortunately, Yates misses a real opportunity to dramatize the film’s antiracist and anticolonialist messages. The director has called Williams “the real hero of the movie,” and the real-life Williams was indeed laudable: a pioneering human-rights activist who visited the Congo under King Leopold’s rule and, aghast at what he saw, wrote an open letter condemning the widespread abuse of the Congolese people by the King’s agents, which sparked an international outcry. But in The Legend of Tarzan, Williams is hardly the hero he was in life—not even close, despite Yates’s PR-friendly assertion. This is frustrating but unsurprising, given cinema’s long history of tokenism and using black men as either comic figures, window dressing, or, in this case, both.

As Williams, Samuel L. Jackson provides almost all the film’s humor, though this dilutes his fascinating character. Rendered anachronistic by Jackson’s contemporary vernacular and cartoonish by such winking lines as “Tarzan . . . King of the Jungle . . . Me Tarzan, you Jane,” Williams is one of the only American characters in the film, yet his take on colonialism is relegated to one scene by a jungle campfire in which he relates his backstory to Tarzan. As a Union soldier in the Civil War, Williams fought to end slavery, but later, when he battled Indians and Mexicans, he says he did terrible things—not for justice, but “for the money”—that makes him “no better” than the brutal colonialists he and Tarzan are fighting. The character’s insight is compelling, but the viewer gets only a glimpse of it, as the film is filtered largely through Tarzan’s unenlightening perspective.

Like previous Tarzans, the one played by Skarsgård embodies the notion that only a white man can save Africa. Williams, despite his extensive military experience, seems weak and cowardly compared to the virile ape man.

In one egregious moment played for laughs, Williams hesitates to swing from a vine.

Tarzan tears down the fragile vine to demonstrate Williams’s incompetence, and Williams grudgingly hops on Tarzan’s back for a ride.

To its credit, The Legend of Tarzan addresses still-pertinent issues whereas most films in the oeuvre stick to a more facile “one with the animals” conservationism. But the character of legend turns out to be less intriguing than his companion, a real-life hero who merits a film of his own. v

v @leahkpickett

WORTHLESS

JULY 14, 2016 - CHICAGO READER 19

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Our writers round up the locals on the bill, guide fans of hip-hop and R&B into the rest of the roster, advise returning a ists on keeping it fresh, and discuss Pitchfork’s so©ening antipathy to emo, the gender balance of its bookings, the return of jazz to the lineup, and Brian Wilson’s white privilege.

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By LEOR GALIL

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he Pitchfork Music Festival celebrates 11 years this year—12 if you count 2005’s Pitchfork-curated Intonation Music Festival—which is more than long enough for familiarity to set in. (The jury is still out on the contempt.) During that time, most of the changes to the event have been incremental: For 2016, for instance, three-day passes have gone up by $15 to $165, and they no longer come with a subscription to the website’s print quarterly, The Pitchfork Review. (I’m among several Reader writers who’ve contributed to Pitchfork and the Review.) And the inevitable corporate partnerships seem likely to subtly tweak the flavor of the festival in its first iteration since Condé Nast bought Pitchfork—though I welcome anything that will replace the free carpet samples that littered Union Park last year.

Part of what makes Pitchfork a dependable event is its air of community—if you’ve got friends in music circles, the festival can feel

like an annual reunion. With just three stages for its 45 acts and a layout that’s barely changed in years, it can feel downright intimate compared to the likes of Riot Fest and Lollapalooza. Pitchfork also provides table space for local nonprofits (Girls Rock! Chicago, 826CHI) and brings aboard community organizations that align with its values: for the first time this year, the nonpartisan Public Action Foundation will help lead the festival’s Voter Engagement and Mobilization Project, while the Old Town School of Folk Music’s Wiggleworms early-childhood program will run a “Kids Area” where youngsters can get their hands on a variety of instruments. (The latter will be open 3 to 6 PM on Friday and noon to 6 PM on Saturday and Sunday.)

The usual nonmusical attractions—the CHIRP Record Fair, the Coterie Chicago Craft Fair, Flatstock, the Book Fort—return to occupy the periphery of the festival grounds.

But music is of course Pitchfork’s centerpiece,

PITCHFORK MUSIC FESTIVAL

Fri 7/15, 3-10 PM, Sat 7/16 and Sun 7/17, noon-10 PM, Union Park, Ashland and Lake, $65 single-day pass, $165 threeday pass, all ages

and its 2016 bookings are the same sort of eclectic we’ve come to expect and appreciate.

Even the surprises—the return of jazz artists to the lineup, Brian Wilson performing Pet Sounds—feel entirely in character, at least in retrospect. The daily schedules have begun to develop patterns too: Sufjan Stevens headlines Saturday, in a slot that’s lately been reserved for indie-rock icons, and R&B singer FKA Twigs headlines Sunday, taking the baton from Chance the Rapper (2015) and Kendrick Lamar (2014). Both of those MCs were building up to a crucial release that fueled their rocketing ascents, and Twigs seems poised to leap to new level of stardom herself.

FKA Twigs performed at the festival two years ago, and she’s hardly the only reason you may be feeling deja vu. More than a quarter of the lineup has been at Pitchfork before, including two of the headliners—this is Beach House’s fourth rodeo. Fortunately, the rest of the bill includes lots of great first-timers, among them Canadian pop wonder Carly Rae Jepsen, soulful Australian garage rockers Royal Headache, reunited hip-hop heavies Digable Planets, and incomparable space-jazz collective the Sun Ra Arkestra. Chicago is represented by a record-setting nine acts, most of them new to the fest (though Whitney did back Jimmy Whispers for part of his set last year).

Essential information about how to get around at Pitchfork, what to bring, and what to leave home is available at pitchforkmusicfestival.com. It’s best to show up with only stuff you can carry on your person—sunglasses and a fanny pack, for example. But if you had a lousy time in the downpour that briefly brought the festival to a halt last year, you can rent a locker on-site to help you prepare for inclement weather.

Pitchfork offers secure bike parking at Union Park’s northwest corner, near Ashland and Lake. Divvy will provide valet service at its Ashland and Lake station, to help deal with an expected overload of inbound bikes. The Green and Pink Lines are likely the best option for nonbikers, at least on the way in—at the end of the night, you might consider hightailing it to one of the many #9 buses waiting on Ashland.

It’s also not a terrible walk to the Loop, or to the Grand or Division stops on the Blue Line.

If you’re not in a rush, consider dropping in at Cobra Lounge, Bottom Lounge, or any other nearby watering hole to take a breather and let the crowds disperse. v

v @imLeor JULY 14, 2016 - CHICAGO READER 21

— OFFICIAL —

CHICAGO READER PITCHFORK COVER POSTERS! 2012

PITCHFORK MUSIC FESTIVAL

Get acquainted with the record-breaking nine Chicago acts at this year’s festival.

By LEOR GALIL

$25 EACH ò RYAN LOWRY

2013

ò SANDY KIM

MICK JENKINS Water represents knowledge and life force to south-side rapper Mick Jenkins. On his breakout 2014 mixtape, The Water[s], he glides through cerebral raps about the systemic oppression of black populations and the struggles that young people of color undergo to escape the traps society lays for them—even his knottiest, most complicated rhyming goes down easy, thanks to his magnetic personality, the resplendent soul-influenced instrumentals, and the concepts for water that flow through and unify it.

Jenkins has been pigeonholed as a “conscious rapper”—he even predicted it on Water[s] cut “Dehydration”—and he’s clearly reluctant to accept such small-minded classification. On last year’s Wave[s] he pulled a 180, enlisting Kaytranada (among other hip, dance-friendly producers) to make relatively upbeat and carefree tracks. Jenkins, like water, is fluid.

2014

ò DANIEL TOPETE

2015 6 - L A Y E R , 1 6 . 5 X 1 7 ”, S C R E E N P R I N T O N 1 8 X 2 4 ” C O U G A R W H I T E P A P E R

GET THEM WHILE THEY LAST AT CHICAGOREADER.COM/PITCHFORKCOVERS 22 CHICAGO READER - JULY 14, 2016

TWIN PEAKS Poke around the Instagram feed of Chicago

rock band Twin Peaks and you’ll see glimpses of what it’s like to play guitar music in your early 20s today—artfully angled live photos, a selfie with a Minion, a video of singerguitarist Clay Frankel delivering a diving elbow drop to singer-guitarist Cadien Lake James. Their recent Down in Heaven (Grand Jury), with its dreamy Zombies-like guitar tones and snarled Rolling Stones-style vocals, might sound like the work of older guys, but Twin Peaks wield those classic influences to explore the trials of being a young person in an era when it’s impossible to avoid yellow, semiliterate animated creatures that look vaguely like dicks.

WHITNEY Pop-rock outfit Whitney had a reputation before they played their first show: the band’s cofounders, guitarist Max Kakacek and singing drummer Julien Ehrlich, played in Smith Westerns till their breakup at the end of 2014, and Ehrlich had worked the kit in Portland indie-pop group Unknown Mortal Orchestra. Suffice it to say Whitney would’ve held on to much of their built-in fan base even if their first album, June’s Light Upon the Lake (Secretly Canadian), had struck a slew of bum notes—fortunately, there are none to be found. Pristine and serene, the record’s wistful, multilayered songs sound like classic rock and feel like a lazy afternoon. On “No Matter Where We Go” Ehrlich sings, “I wanna drive around / With you with the windows down,” and the band make it seem like the best possible way to spend your time.

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PITCHFORK MUSIC FESTIVAL 322 W. Armitage • parkwestchicago.com

ò SHAWNY OCHO

OFFICIAL AFTERSHOW

BJ THE CHICAGO KID R&B crooner Bryan James Sledge, aka BJ the Chicago Kid, is in demand by in-demand MCs—he’s recorded with the likes of Kanye West, Kendrick Lamar, Chance the Rapper, and Vic Mensa. On his own, he’s such a persuasively sensual singer that the Tribune ran an interview with him devoted entirely to silly questions about love and romance.

(Sample: “You have a song called ‘Sex Is the Best Breakfast.’ Even better than a really good Greek omelet?”) He does what any good wooer wants to: capture your undivided attention. On his first album for Motown, February’s In My Mind, he seems able to mine any subject—even Sunday services—for metaphors that are equal parts tender and raunchy.

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ò MEREDITH TRUAX

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ò JULIA DRATEL

CIRCUIT DES YEUX Circuit des Yeux mastermind Haley Fohr wears many hats in the local experimental

scene, including a spangled red cowboy hat she’s donned to play a character named Jackie Lynn. For last month’s Jackie Lynn (Thrill Jockey), Fohr created an elaborate but deliberately sketchy back story for Lynn—born in Tennessee as lightning struck her mother’s belly, she supposedly ran a multimilliondollar cocaine operation with her partner, Tom Strong, before they both disappeared last year. Jackie Lynn is credited to Lynn, but Apple Music has filed it under Circuit des Yeux—and at any rate Fohr’s unmistakably resonant vocals are a dead giveaway. The album departs from the ominous, atmospheric, slow-building noise of Circuit des Yeux, though, instead delivering its relatively straightforward, sun-beaten country melodies with a loungy lilt.

JEREMIH Golden-voiced R&B star Jeremih has a way of coming out of a bad situation on top. His third full-length, Late Nights: The Album (Def Jam), should’ve been released in summer 2014, when his DJ Mustard-produced hit “Don’t Tell ’Em” was still hot. Even though his label bungled the release, quietly pushing out the record last December, Late Nights has gone gold and stayed on the Billboard 200 ever since. J. Cole sticks his foot in his mouth during his guest spot on “Planez,” but that hasn’t been enough to drag the album down—Jeremih’s effervescent cool keeps it in the air.

J

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RP BOO Footwork started with Kavain Space, aka RP Boo (it stands for “Record Player Boo”).

He juggled dancing and DJing in the 90s, developing Chicago’s futuristic mutation of house music—he accelerated the evolution (and the tempos) of ghetto house and juke in order to build a style suited to dancers keen on battling. He remained underground for years, even as footwork took off. When one of his thumping tracks got especially popular in Europe in 2003, it didn’t help his profile—because he claims it was released under someone else’s name. (DJ Slugo allegedly stole the song and released it as “Godzilla”; Boo had only previously pressed a few white-label copies under the title “11-47-99.”) Even before Boo finally dropped his first full-length in 2013, his contemporaries (including DJs Rashad and Spinn) were helping get him the credit he was due. Planet Mu has issued both of his two proper studio albums, including last year’s fiercely nasty and gratifying Fingers, Bank Pads & Shoe Prints.

ò WILLS GLASSPIEGEL

TOKYO POLICE CLUB 09/22

JLIN Jerrilynn Patton, aka producer Jlin, lives in Gary, Indiana, but Chicago is very much a spiritual home for her. It’s the birthplace

of footwork music—her specialty—and it’s where many of her mentors and peers reside.

Jlin knows how to make the hyperfast dance style seem to levitate, and she pays homage to its history even as she pushes it forward.

On last fall’s Free Fall EP (Planet Mu), she builds on the legacy of her friend and fellow Pitchfork performer RP Boo, reimagining his “Godzilla” as “Buzilla” (and using a vocal sample that mentions Boo’s name). She distorts the stuttering bass of the original like it’s being fried with high-voltage wires and fuses it to a knobby, stumbling percussion pattern that sounds like bricks slamming around in a dryer—even when it hits at odd angles, it thumps hard as hell.

HOMME The members of Homme, Sima Cunningham and Macie Stewart, have been part of Chicago’s music scene from a young age. Cunningham hired producer Brian Deck (Modest Mouse, Iron & Wine) to produce her first EP, 2006’s Squeeze, when she was 15; Stewart cofounded genre-melding group Kids These Days in her midteens. Cunningham and Stewart formed Homme in 2014, and in their short time together they’ve established a f luid style that combines warm, melodic songwriting and experimental flourishes.

On a self-titled EP they self-released in 2015, Homme give assured performances that demonstrate an intuitive sense of how to touch their listeners’ hearts. On “Fingerprints” they alternate between brooding rock riffs and feathery folk melodies, and on the hook Cunningham and Stewart sing volleying vocals that sound like synthetic birdcalls—strange twists that make the tune even more captivating. v

v @imLeor

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FKA Twigs ò DOMINIC SHELDON

Beach House, Savages, FKA Twigs, and Carly Rae Jepsen are all great— but don’t let them distract you from the lopsided maleness of the festival’s bookings.

By BRIANNA WELLEN

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ast year Pitchfork booked a fierce lady lineup that inspired me to write about riot grrrl’s resurgence on the festival circuit. With such a concentration of powerful women taking the stage, though—especially Sleater-Kinney, who cranked out an electric headlining set—it was easy to lose sight of the bigger picture. The sad fact is, the five female-centric groups I mentioned last year— Courtney Barnett, Ex Hex, the Julie Ruin, Sleater-Kinney, and Waxahatchee—accounted for almost half the women-led acts on the entire bill. There were just 11 in total, less than a quarter of the 45-act lineup.

This year, things aren’t much different: out of 45 acts, only 12 are led by women.

Once again a couple of strong headliners,

Beach House and FKA Twigs, distract from the disproportionate ratio further down the bill. And the Pitchfork Music Festival isn’t the only offender: the lineups at Bonnaroo, Coachella, and Lollapalooza all consist of roughly 75 percent all-male groups, despite the common gambit of securing at least one powerhouse female headliner in a futile attempt to say “See! We have women playing too!”

Just as troubling is the lack of genre diversity among the women who do get booked.

Pitchfork is increasingly expanding beyond the indie pop and rock that usually dominate its lineup—in the past five years especially, it’s included more electronic and hip-hop musicians. But of the 97 hip-hop or electronic-

music acts the festival has booked in its history, only eight have been women.

These low numbers aren’t for a lack of female performers. In Chicago, the 2016 Frontwoman Fest hosted more than 15 local groups with a variety of sounds (noise-rock, ambient, hip-hop), a larger and more diverse cast of female musicians than Pitchfork could manage to scrounge up from around the world. (This year’s Frontwoman Fest, held at the Burlington, raised $1,500 for Girls Rock!

Chicago.) It’s also worth mentioning that the nine local acts on this year’s Pitchfork lineup include only four women. Grassroots movements can boost local acts into the spotlight, but that leg up won’t do women much good without real change to the entrenched patterns of gender inequality that have shaped the music industry.

“I actually think that Pitchfork does a better job than every other festival,” says Melissa Oglesby, outreach director for Girls Rock!

Chicago. “Everybody still has a long way to go, but I’m grateful that the programmers at Pitchfork are thoughtful about it.” Still, she wonders why festivals in general are so bad at booking women: “Do they feel like they don’t have a roster to draw from, or that the roster isn’t going to be as profitable or something?”

These are questions worth posing, especially when even the most enlightened fests don’t top 30 percent women in their lineups.

All that said, the handful of women on this year’s Pitchfork bill makes for a good mix: the infectious pop of Carly Rae Jepsen, the frenetic footwork beats of Jlin, the fierce rock of Savages, the otherworldly R&B of headliner FKA Twigs. Clearly Pitchfork has an eye for talented women. It just needs twice as many of them—at least!

And to be fair, Pitchfork has come a long way. At the Intonation fest in 2005 (curated

by Pitchfork and the predecessor of its own festival), the 27-act bill included only one female-led group and one female DJ. So maybe we can keep hoping—and maybe next year we’ll get a more equitable lineup that showcases the talents of women from as many genres as the festival does. v

v @BriannaWellen JULY 14, 2016 - CHICAGO READER 25

PITCHFORK MUSIC FESTIVAL

Like Thundercat? Try Beach House. Like Jeremih? Listen to Blood Orange.

By TIFFANY WALDEN

itchfork is giving fans of hip-hop, soul, and R&B plenty to look forward to: Anderson .Paak & the Free Nationals, BJ the Chicago Kid, Jeremih, Kamasi Washington, Mick Jenkins, Thundercat, Miguel. But there are dozens more performers on the bill, and part of the appeal of a big, diverse music festival is that listeners can branch out and explore artists operating in genres outside their comfort zones. It’s a good way to get your money’s worth (those passes aren’t cheap) and enjoy everything Pitchfork has to offer. For the heads who can’t fathom listening to anything but hip-hop, soul, and R&B, here’s a guide to a more holistic festival experience.

IF YOU LIKE: Mick Jenkins, BJ the Chicago Kid CHECK OUT: Moses Sumney

IF YOU LIKE: Jeremih CHECK OUT: Blood Orange

IF YOU LIKE: Anderson .Paak & the Free Nationals CHECK OUT: Empress Of

IF YOU LIKE: Thundercat CHECK OUT: Beach House

IF YOU LIKE: Kamasi Washington CHECK OUT: Broken Social Scene

Moses Sumney’s guest vocals on Tessa Thompson’s “Shed You” (from the Creed soundtrack) have some of the churchy vibrato BJ the Chicago Kid uses on “Love Inside” and the lulling, ethereal beauty of Mick Jenkins’s “Comfortable.”

Sumney is fairly new to the big stage, but his music is going in an intriguing direction.

The mystique of Blood Orange’s “Sandra’s Smile” summons the same sort of butterflies that rev up whenever Jeremih’s “Planez” comes on the radio during a latenight cruise down Lake Shore Drive. Blood Orange’s style is all over the place: British indie pop with hints of rock, funk, soul, and folk. But if “Sandra’s Smile” is any indication of what his Pitchfork set will be like, he’s worth checking out.

Empress Of is mesmerizing on “Standard,” with its climactic strings, heavy 808s, and breathy refrain. The lyrics explore the distance between the haves and the have-nots, which aligns with the social consciousness Anderson .Paak fans seek amid smoove grooves such as “The Season/Carry Me.” Warning: Empress Of teeters on the fluffy side of pop at times, but the gems are worth the wait.

Beach House’s otherworldly sound is soothing, moody, and dreamy—all qualities reminiscent of Thundercat’s “Where the Giants Roam,” the last track on his 2015 album The Beyond / Where the Giants Roam. Thundercat, whose bass work has grown in popularity thanks in part to his production on Kendrick’s To Pimp a Butterfly, shares with this indie-rock duo the type of thought-provoking harmonies that send you deep into your soul on a Sunday afternoon, while you’re sipping wine and searching for the cure to whatever first-world problem is wrecking your brain.

Broken Social Scene and saxophonist Kamasi Washington are both into flexing their instrumental IQs, though the former typically caters to the indie-rock ear and the latter (with his ten-piece band, the Next Step) is hip to the Miles Davis school of thought. Get a feel for Broken Social Scene’s drums-forward vulnerability on “7/4 (Shoreline)” and Washington’s sensitivity on “Isabelle.”

FAVORITES Moses Sumney: “Shed You,” “Everlasting Sigh” BJ the Chicago Kid: “His Pain” and “Church” Mick Jenkins: “Comfortable” and “Healer”

FAVORITES Blood Orange: “Sandra’s Smile,” “Sutphin Boulevard,” “Bad Girls” Jeremih: “Oui,” “Planez,” “Impatient”

26 CHICAGO READER - JULY 14, 2016

FAVORITES Empress Of: “Standard,” “Champagne,” “Don’t Tell Me” Anderson .Paak: “Am I Wrong,” “The Season/ Carry Me,” “The Waters”

FAVORITES Beach House: “One Thing,” “The Traveller,” “Myth” Thundercat: “Song for the Dead,” “Them Changes,” “Lone Wolf and Cub”

FAVORITES Broken Social Scene: “7/4 (Shoreline),” “Sweetest Kill,” “Anthems for a Seventeen Year-Old Girl” Kamasi Washington: “Isabelle,” “Cherokee,” “Final Thought”

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IF YOU LIKE: Miguel CHECK OUT: FKA Twigs

Both artists are doing exciting, experimental things with R&B, pushing the sounds of Marvin Gaye and Prince to new psychedelic heights with electro-pop melodies and emo bass. FKA Twigs’s “Two Weeks” and Miguel’s “The Valley” both capture the essence of a spirit looking for love—though the latter is a little more cannibalistic. Dark sexiness and amorous introspection link the two.

FAVORITES FKA Twigs: “Pendulum,” “Two Weeks,” “Good to Love” Miguel: All of Kaleidoscope Dream, “The Valley,” “Waves” (remix featuring Travis Scott)

ò RYAN LOWRY (MICK JENKINS); SHAWNY OCHO (BJ THE CHICAGO KID); MEREDITH TRUAX (JEREMIH); MICHAEL HALSBAND (BLOOD ORANGE); JABARI JACOBS (ANDERSON .PAAK); SHAWN BRACKBILL (BEACH HOUSE); DANIEL SAANWALD (MIGUEL); MICHAEL HICKEY (FKA TWIGS); COURTESY OF THE ARTIST (MOSES SUMNEY, EMPRESS OF, THUNDERCAT, KAMASI WASHINGTON, BROKEN SOCIAL SCENE)

Blood Orange ò GETTY IMAGES

Because what’s more boring than sticking with what already works?

By J.R. NELSON

G

reetings 2016 Pitchfork Music Festival artists, and welcome to our beautiful, encased-meat-laden city by the lake! Or should I say “Welcome back”? After a quick perusal of the lineup card, I can see that this isn’t the first trip to the salad bar for many of you— by my count, 13 acts are making their second, third, or even fourth Pitchfork appearance this year, with some having played as recently as 2014. As an unofficial coach and official gossip columnist for Chicago’s music scene, I’ve seen a lot of local artists grow stale by refusing to switch things up and challenge their fans with aggressively pointless stylistic swerves. So boring! The festival stage is a perfect venue to escape such a quagmire! Do you know what French critic and theorist Roland Barthes said about all this? “The bastard form of mass culture is humiliated repetition.” While I’m not entirely sure what that means—I don’t speak French!—it helps me feel entitled to advise a few of you on possible new avenues.

Jehnny Beth, have you ever wondered what it’d be like to perform in a giant peanut costume? Let the folks at Portage Park weirdo hub Fantasy Costumes (4065 N. Milwaukee) make your fantasy—well, mine, actually—a reality!

Blood Orange Alcala’s Western Wear (1733 W. Chicago) is less than a mile from Union Park, and country music is less than a millimeter from my heart.

That’s close! Dev Hynes, I implore you to go honky-tonk. Your ace songwriting and silky, superbly orchestrated blend of pop, rock, and R&B are just a steel guitar and a ten-gallon Stetson away from dominating country radio.

You know how Brad Paisley pretends to be “country for smart people”? You could really do it!

Broken Social Scene Because I suffer from Broken Social Misophonia—aka the hatred of sounds related to your music—I’d like to encourage you to play a silent set this year. No plugging in. You can move around, though!

Savages Aren’t you just about tired of being the most sharply dressed and surefire best postpunk band on the planet? Your show at Metro in April was transcendent, and excellence is a terrible look. Costumes are much better! Ever heard Green Jellÿ? They stormed the charts with dumb Gwar-style outfits and grotesque video imagery ripped off from fairy tales.

Twin Peaks Boys, your debut set in 2014—where guitarist Cadien Lake James performed in a dirty-ass leg cast and a wheelchair on account of a busted ankle—worked out pretty well. This year you might want to “Segway” into a new stage gimmick: Everyone in the band has their own wheels! Bumper cars? Radio Flyer wagons?

You guys are on a roll! Keep it up! v

JULY 14, 2016 - CHICAGO READER 27

PITCHFORK MUSIC FESTIVAL

The two acts on this year’s bill—Kamasi Washington and the Sun Ra Arkestra—are the first since the festival’s dabblings in 2006 and 2007.

By PETER MARGASAK

I

t would be a little dramatic to proclaim that jazz is back at the Pitchfork Music Festival, since it was at best a minor part of the lineup when it was included at all. This year’s roster features two jazz acts: risingstar LA saxophonist Kamasi Washington and venerable space-jazz collective the Sun Ra Arkestra (if you really want to stretch the genre’s borders, you could also include electric bassist Thundercat). That makes 2016 the third time Pitchfork has hosted jazz or improvised music—it’s also the first time since 2007, when Craig Taborn’s Junk Magic, Fred Lonberg-Holm’s Lightbox Orchestra, the William Parker Quartet, and Ken Vandermark’s Powerhouse Sound performed. In 2006 the lineup included 8 Bold Souls, Chicago Underground Duo, and the Jeff Parker/Nels Cline Quartet.

In those early years, festival organizer Mike Reed tried to include artists outside the broadly defined spheres of indie rock and electronic music covered by Pitchfork Media.

“The reason we stopped doing jazz,” he says, “was mostly because I realized that I wasn’t booking shows for me.” Ten years later, jazz does seem to be getting more consistent attention from Pitchfork’s writers, though there’s never much at once—especially notable are the frequent contributions of Seth Colter Walls. The latest issue of The Pitchfork

Sun Ra Arkestra ò D. SCENES PHOTOGRAPHY

Review is dedicated to jazz, with pieces on Sonny Rollins, Sun Ra, Thelonious Monk, Donny McCaslin, Albert Ayler, and Tomeka Reid, among others. Nearly as often as jazz has been declared dead by one media outlet or another, it’s enjoyed a rediscovery by fans, and that may be what’s happening now. Says Reed, “Having more jazz acts at the festival this year is just a reflection of something that’s moving through pop-indie culture as a whole. It’s not unique to Pitchfork.” Indeed, this summer Washington will play at a slew of other rock festivals around the world.

Kamasi Washington and the Sun Ra Arkestra are special cases, though, not just on the Pitchfork roster but also in the world of jazz.

Washington, who meticulously channels the cosmic early-70s jazz of Alice Coltrane and Pharoah Sanders and has built a studio and a circle of musicians outside LA’s jazz establishment, has become a major attraction thanks in part to his ambitious 2015 three-album debut, The Epic (Brainfeeder).

But the public’s interest in him had already been piqued by his significant contributions to popular records by Kendrick Lamar and

Flying Lotus. The Arkestra, which was crazily busy last year leading celebrations of Sun Ra’s centennial, is the ultimate evergreen crossover act, a dynamic and hugely entertaining big band that creates an instant spectacle. It’s been magnetizing rock fans for nearly five decades, and 92-year-old alto saxophonist Marshall Allen has never been better at directing the group through its thrilling mix of free jazz and cosmic weirdness. v

v @pmarg

WE’RE WAITING FOR YOU. WHAT ARE YOU WAITING FOR? Sign up for classes at oldtownschool.org

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LINCOLN SQUARE • LINCOLN PARK

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PITCHFORK MUSIC FESTIVAL

The festival has never before booked an act from indie rock’s most reviled subgenre—but this Massachuse^s band’s new album is too good to ignore.

By LEOR GALIL

T

he Hotelier’s recent third album, Goodness, has received universally positive reviews, though critics often seem to feel they need to apologize for liking it. Many appear uncomfortable using the word “emo” to describe the band, though that’s clearly the music they play. Pitchfork senior editor Jillian Mapes dodged the question expertly: “At this point, however, it might not even be accurate to call them emo, so let’s just have it out now: The Hotelier is a great rock band, however you classify them.” A sudden onset of rhetorical fussiness about genre labels is a common way to give a great band a pass when they play a style of music that’s still widely reviled. Emo

hasn’t made a single appearance at the Pitchfork Music Festival till this year—and it’s the Hotelier who ended the drought.

More than three decades after emo emerged from the underground punk scene in Washington, D.C., and roughly 15 years after the genre crossed over to become a pop-culture phenomenon, it still struggles with a bad reputation—for unearned histrionics, for adolescent misogyny, for creative bankruptcy or ineptitude. The Hotelier, a three-piece from Worcester, Massachusetts, are part of a legion of fourth-wave emo acts helping to change the conversation, but the going is slow: in May, in an otherwise thoughtful profile on Phila-

delphia group Modern Baseball, New York Times reporter Joe Coscarelli called emo “an outmoded style of music.”

Even when emo boomed in the 2000s, elevating the likes of Jimmy Eat World, Fall Out Boy, and My Chemical Romance into the public eye, it couldn’t escape its stigma. Pitchfork’s editorial staffers seemed to see themselves as champions of refined, cerebral indie rock, and emo looked like the opposite number of that kind of music—even before it became the unofficial favorite genre of Warped Tour, which is basically the antimatter Pitchfork festival.

When Pitchfork deigned to write about the stuff, its attention was often worse than its

neglect. Only the best-known or most conspicuously indie-leaning emo artists got reviewed, and at least 90 percent of those reviews were negative. Brent DiCrescenzo’s 0.7 review of 2000’s Electric Pink EP by foundational second-wave band the Promise Ring (that’s on a ten-point scale) didn’t need to continue past its snarky subheadline: “The Spinal Tap-ian response to this unnecessary EP would simply be ‘electric stink.’ Alas, I must now waste my time and . . . ” In his review of Jimmy Eat World’s breakout 2001 record Bleed American (later retitled Jimmy Eat World), Pitchfork founder Ryan Schreiber writes, “These songs will never test or judge you,” slapping on a score of 3.5. The Appleseed Cast’s Low Level Owl Vol. 1 & II, which came out the same year, is one of the few emo records Pitchfork didn’t pan: it got a freakishly high 9.0, but the reviewer attempted to keep his hands clean by pretending that the band had left emo behind.

Pitchfork has softened on emo over the past few years, as fourth-wave artists began their mainstream rise. In 2013 it began covering newer acts regularly if not exhaustively, among them Into It. Over It., the World Is a Beautiful Place & I Am No Longer Afraid to Die, Foxing, and Tigers Jaw. Reunited veterans and their reissued records have received attention too— American Football’s self-titled album and the Promise Ring’s Nothing Feels Good both got the coveted “Best New Reissue” tag. Despite the sometimes glowing praise in Pitchfork’s reviews of younger bands, though, none has broken through to earn “Best New Music.”

The Hotelier have come close—Goodness earned an 8.0, a couple tenths of a point shy of the lowest-scoring BNM releases. The fact that Pitchfork asked them to play its festival is probably more significant. The closest to emo it’s gotten before now has been to book bands tangentially related to the genre.

Waxahatchee have played Pitchfork twice, and front woman Katie Crutchfield previously spent four years in P.S. Eliot, a band that shares roots with much of emo’s fourth wave.

(Waxahatchee themselves are more indie rock then emo.) Festival veterans Japandroids and Cloud Nothings play rock with the sort of earnest swagger that misleads people into calling them emo, but neither act reflects the language, history, and spirit of the sound the way the Hotelier does. Though it’s taken Pitchfork more than a decade of festivals to invite a single emo band, at least it picked a great one to break the ice. v

v @imLeor JULY 14, 2016 - CHICAGO READER 29

PITCHFORK MUSIC FESTIVAL

Brian Wilson performs at the Fox Theatre in Atlanta in 2015. ò ROBB D. COHEN / INVISION/AP

Fellow Pitchfork a^ractions Sufjan Stevens and FKA Twigs illustrate the racial coding that’s helped Wilson secure his crown.

By NOAH BERLATSKY

B

rian Wilson performs at Pitchfork on Saturday night, celebrating the 50th anniversary of his great work of sensitive, idiosyncratic genius, the seminal R&B album Pet Sounds.

OK, it’s true: Pet Sounds isn’t usually thought of as an R&B album. In fact, in some ways it’s thought of as an anti-R&B album, or even as an antimatter R&B album. Bring Pet Sounds into contact with a James Brown LP, and the two will annihilate each other—vulnerable white feyness and masculine black swagger vanishing in a puff of incompatible aesthetics. Compared to the Rolling Stones or the Beatles or Dylan, the

30 CHICAGO READER - JULY 14, 2016

Beach Boys lacked grit and soul. Their carefully rapturous harmonies framed narratives of vulnerability or inoffensively wiggy wistfulness.

The one cover song on Pet Sounds isn’t a deepsoul track but rather “Sloop John B,” a tune popularized in 1958 by the vigorously unsoulful folk revivalists in the Kingston Trio. “I want to go home / Let me go home / This is the worst trip / Since I have been born” is a deliberately infantile lament, a performance of ostentatious innocence inseparable from the Beach Boys’ sun-bleached whiteness.

The thing is, though, that while “Sloop John B” came to Wilson via the very white

Kingston Trio, it was originally a traditional song from the Bahamas. By the same token, many elements of the Beach Boys sound which seem coded white—the fussy arrangements, the pure harmonies, the childish vulnerability—come out of a tradition of pop R&B. The Drifters, a band the Beach Boys covered on occasion, seem like a particularly relevant touchstone. The early-60s track “She Never Talked to Me That Way” projects a hapless ineffectuality every bit as pronounced as that in “Sloop John B,” with singer Rudy Lewis delivering a weepy lament of childish emasculation as the strings surge above a railroad chug and the backing vocals echo him with sad mockery.

“You just kissed and kissed so endlessly / Tears filled my eyes, I could not see / You never never never never kissed me that way, honey.” The Beach Boys’ masterpiece of sunlit yearning, “Wouldn’t It Be Nice,” is foreshadowed in the Drifters’ “Up on the Roof,” written by Gerry Goffin and Carole King. “On the roof’s the only place I know / Where you just have to wish to make it so,” much like “I wish that every kiss was never-ending,” is about a utopia just out of reach—both songs are cheerful, immaculate pop confections barely concealing failure and melancholy.

Late Chicago DJ and soul historian Bob Abrahamian often talked about the way black music is stereotyped as rough, authentic, and virile. The smooth, polished, sensitive soul music he loved is seen as less important—or more often just forgotten altogether.

Wilson’s legacy has been shaped by that dynamic as well. In theory, the Beach Boys could be seen as a linchpin in the development of smooth soul—a transition between the polished pop harmonizing of the Drifters in the 60s and the experimentation of, say, Eugene Record of the Chi-Lites, whose easy groove on the 1972 single “Oh Girl” makes the wah-wah harmonica and the strings fit together into one lonely psychedelic package. “Oh girl / I’d be in trouble if you left me now”—this forthright declaration of haplessness contrasts with the perfection of the arrangement in a way that the composer of “God Only Knows” would understand.

But the Chi-Lites are mostly forgotten, at least compared to the Beach Boys. Wilson’s brand of vulnerable genius is generally seen as presaging not smooth soul but rather indie pop, epitomized at Pitchfork this year by the likes of Sufjan Stevens. Stevens’s 2015 album, Carrie & Lowell, is much more stripped-down than your average Beach Boys record. But its confessional narrative, about Stevens’s

mentally ill mother, captures something of Wilson’s childlike brokenness. The feeling of abandonment in “Sloop John B” is given a more personal twist in lines such as “When I was three / Three maybe four / She left us at that video store.” Distracted Wilson odes to emptiness such as “Busy Doin’ Nothin’” serve as precedents for Stevens’s “All of Me Wants All of You.” Wilson would never say “You checked your texts while I masturbated,” but the song’s stoned wistfulness and half-hearted but still perfect oohs are recognizable variations on the Beach Boys’ masterful performance of inadequacy.

That’s not to say that R&B has given up on vulnerability. Beyoncé’s “Daddy Lessons” couldn’t have been much more of a sensation, but it’s notable that the pain in that swaggering song is about being forced to be tough: “Daddy told me not to cry.” And of course, people are reluctant to think of Beyoncé as an idiosyncratic, vulnerable genius like Wilson; pick an article about her on the Internet, and you’ll find commenters lining up to declare her a plastic pop contrivance who doesn’t deserve songwriting credits on her own material.

Black R&B performers following Wilson’s inward-turned path do exist. But they’re often perceived as “R&B with an asterisk.” Pitchfork performer FKA Twigs, for example, has been stamped with the PBR&B label—a joking name for what’s also called “alternative” R&B. (The reference is to Pabst Blue Ribbon, a beer beloved of white hipsters.) Her song “Pendulum”—fractured and echoey, the beats placed with painful care—makes sense only, apparently, in a white tradition. The song’s obsession with isolation can almost be seen as an ironic comment on critics’ efforts to pigeonhole her as a “unique” black artist, without precedent or connection. “Come fill your gaps with people / I know no one,” Twigs moans.

The song makes her sound like she’s hesitantly folding up into a pristine cage in her own head.

That cage is Wilson’s territory; he’s pop’s reigning granddaddy of insular woundedness.

He has that title in part because he’s deservedly seen as one of the great American musicians of the past 50 or 60 years. But he also has it because he’s white, and preconceptions about race, authenticity, and who can and can’t be vulnerable make it harder to see performers such as the Drifters or the Chi-Lites or even Marvin Gaye as exemplars or prototypes of fragile idiosyncratic excellence. Maybe if we think and wish and hope and pray, that will change before another 50 years go by.

Wouldn’t it be nice. v

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JULY 14, 2016 - CHICAGO READER 31

Recommended and notable shows, and critics’ insights for the week of July 14

MUSIC

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ALL AGES

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Pape Cheikh Diouf ò COURTESY THE ARTIST

PICK OF THE WEEK:

Mitski is powerless against the emotions that fuel her new Puberty 2

THURSDAY14 Oracle Hysterical Cactus Tractor and Wayfaring open. 9 PM, Hideout, 1354 W. Wabansia, $8.

ò EBRU YILDIZ

MITSKI, JAPANESE BREAKFAST, JAY SOM

Wed 7/20, 7 PM, Lincoln Hall, 2424 N. Lincoln, sold out. A

IN JUNE Fader published a feature on indie-rocker Mitski Miyawaki with a headline that says she makes “sad songs for grown-ups.” At 25 the Japanese-American singer-songwriter knows feelings don’t dissolve with age, and in fact told the New York Times that she’s lost sleep because “I have a very conveniently photographic memory of emotions— it’s overwhelming because things don’t fade for me.” The emotions fueling and festering on her fourth album, June’s Puberty 2 (Dead Oceans), feel fresh, and Mitski wields them with the precision of a surgeon and the heart of someone who’s been roughed up enough to have war stories. She approaches white-hot feelings by imubing her songs with complicated nuances that reflect contemporary struggles with identity and impossible desires. Mitski molds her brooding, pliable indie rock to whatever the mood demands via intimate folk picking, lo-fi rock riffs, or measured postpunk collages. The results are liable to leave a mark. On “Your Best American Girl” she sings about two lovers struggling to make sense of their incongruous backgrounds in the face of an idealistic blueprint that doesn’t fit reality. The song’s cascading guitars briefly ensnare the effervescent love that can make anyone feel invincible; in a tune that serves as a relationship’s epilogue, Mitski’s bittersweet vocals impart failure with grace. —LEOR GALIL

32 CHICAGO READER - JULY 14, 2016

Music often takes inspiration from classic literature, but the remarkable ensemble Oracle Hysterical make it their raison d’etre, transforming stories into tightly mapped musical journeys. Vocalist Majel Connery, bassist and viola da gamba player Doug Balliett, bassoonist Brad Balliett, and guitarist, keyboardist, and vocalist Elliot Cole are all trained and rooted in classical music, yet while they draw on that rich tradition in terms of arrangements, orchestrations, and technique, everything I’ve heard transcends any single style. They’re not afraid to embrace sophisticated bits of pop and contemporary production, as on “100 Tongues,” the opening piece from the suite Hecuba, which is loosely based on the Euripides play of the same name.

The work features gripping slice-and-dice postproduction, with Connery’s crystalline voice chopped into percussive phonemes amid chattering acoustic guitar zigzags and stuttering drums (when the group played the piece in Chicago a while back they worked with the Chicago Composers Orchestra). But most of the time they simply blend ideas from across time and land into elegant tunes where serpentine melodies are cradled and cajoled by exquisite arrangements. Thus far the group have written pieces based on works by Suetonius, Melville, Auden, an Afghan folk story, and the Brothers Grimm, but it’s Passionate Pilgrim, based on a series of poems attributed to “W. Shakespeare,” that will be the first effort to get a commercial release when it drops in December on Vision Into Art. For tonight’s performance the group will preview the recent The Sea: Tales of Lapham (a commission from the great Boston vocal ensemble A Far Cry), which draws its stories from a sea-themed issue of the literary journal Lapham’s Quarterly. They’ll be enhanced by percussionist Peter Ferry, cellist Kyra Saltman, violinist Ellen McSweeney, and violist Brianne Lugo. Opening are Cactus Tractor and Wayfaring (the duo of clarinetist James Falzone and bassist Katie Ernst). —PETER MARGASAK

Puff Pieces The Julie Ruin headline. 8:30 PM, Thalia Hall, 1807 S. Allport, $20-$25. 17+ D.C. postpunk trio Puff Pieces are Dadaists to a fault. Their springtime debut, Bland in D.C. (Lovitt), cuts deep into urban gentrification and milquetoast modernity through lyrics that are equal parts agitprop absurdism and witty self-awareness. (The album title is, after all, a clear riff on Bad Brains’ iconic Banned in D.C.) Blunt, brief screeds play in tandem with a minimalist postpunk clomp that moves with cartoonish elegance; every note lands with a noticeable thump, serrated guitars puncture the air and augment the manic motorik pulse, and front man Mike Andre’s taut, softly adenoidal vocals exude an irrepressible anxiety. Bland in D.C. isn’t for everyone, and that’s the point. Even the most cloying moments manage to get the band’s messages across effectively—you don’t have to like the songs to appreciate where Puff Pieces are coming from. The criticisms of conspicuous consumption on the speedy, deranged “Object Accumulation” are all the more exacting because of their methods.

—LEOR GALIL

FRIDAY15 Swans See also Friday. Okkyung Lee opens.

11 PM, Lincoln Hall, 2424 N. Lincoln, $32, $28 in advance.

Swans just released The Glowing Man (Young God), their 24th album since 1982, and the fourth and final studio record of their current incarnation. Like its two immediate predecessors, The Seer (2012) and To Be Kind (2014), The Glowing Man is a triple LP that lasts two hours, and recent Swans performances—replete with feverish chants and thunderheads of guitar noise suspended over heavy, supple grooves—tend to last even longer than that.

There’s nothing like the extraordinary tension and ecstatic release their command of dynamics and scale achieves, but you can’t keep climbing the holy mountain forever, and bandleader Michael Gira has announced that while he’ll continue to use the name “Swans,” he won’t necessarily keep the same personnel or tour as much. The lineup has already J

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Find more music listings at chicagoreader.com/soundboard.

Eli Young Band at Windy Cindy Smokeout (2014)

ò ANJALI PINTO

FESTIVALS

Not at Pitchfork: metal, country, and world music Chicago Open Air This new southwest-side festival leans hard on nu-metal with 90s relics such as Korn, Slipknot, Disturbed, and Marilyn Manson. However, it also includes a few relevant acts, including Meshuggah, Gojira, Carcass, and Babymetal. 7/15-7/17, Toyota Park, 7000 Harlem, Bridgeview, chicagoopenair.com, single-day tickets sold out, $149.50-$289.50 three-day passes.

Metal Threat Fest Three days, two rooms, and all the extreme metal you can handle from the likes of Inquisition, Absu, Pseudogod, Exciter, Krieg, Angelcorpse, and Razor. 7/15-7/17, Reggie’s Rock Club and Reggie’s Music Joint, 2105 S. State, facebook.com/ MetalThreatPromotions, three-day passes sold out, single-day tickets $50.

Pitchfork Music Festival At the 11th installment of this tastemaking indie festival, performers include Sufjan Stevens, Beach House, FKA Twigs, Brian Wilson, and Savages. See our festival guide on page 21. 7/15-7/17, Union Park, 1501 W. Randolph, pitchforkmusicfestival.com, $65, three-day passes $165.

Windy City Smokeout This country-music festival pairs smoked meats and smoky tunes. Chase Rice, Billy Currington,

and Old Dominion headline, while Maren Morris (see page 34) and Phil Vassar are among the opening acts. 7/15-7/17, 560 W. Grand, windycitysmokeout.com, $30-$45, three-day passes $110.

Celebrate Clark Street Produced by Sound Culture Center for Global Arts, this Rogers Park street fest features a wide range of world music, including sets from Vivian Garcia, Hector Guerra, and Grupo Brebaje. 7/167/17, Clark between Morse and Estes, celebrateclarkstreet.com, $5 suggested donation, $10 suggested donation per family.

Colombian Fest This festival features a giant lineup of local and international Latin-music artists, with headliners Sonora Carruseles, Anibal Velasquez y Los Locos del Swing, Duban Bayona y Jimmy Zambrano, and Jorge Meza y Su Tropicolombia.

7/16-7/17, Coppernicus Center, 5216 W. Lawrence, colombianfestchicago.com, $10, $17 two-day pass, free for children under 12.

Laid Back Festival Curated by headliner Gregg Allman, this tour is heavy on the classic rock—as evidenced by the presence of Peter fucking Frampton. 7/16, FirstMerit Bank Pavilion, 1300 S. Linn White, laidbackfest.com, $25-$99.75.

JULY 14, 2016 - CHICAGO READER 33

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The Handsome Family with special guest Anna & Elizabeth

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Sara Watkins THURSDAY, SEPTEMBER 22 8PM

SEXY ZEBRAS, KELROY, KILLER MOON

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FRIDAY, SEPTEMBER 23 8PM

SUNDAY, SEPTEMBER 25 7PM

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WED, 7/20

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Sonny Landreth THURSDAY, NOVEMBER 17 8PM

Dar Williams Return to MORTAL CITY ACROSS THE STREET IN SZOLD HALL 4545 N LINCOLN AVENUE, CHICAGO IL

8/6 Laketown Buskers 9/10 Erwin Helfer / Barrelhouse Chuck with Billy Flynn / Gospel Keyboard Masters: The Sirens Records CD release show for all 3 artists!

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MUSIC continued from 33

changed slightly: keyboardist Paul Wallfisch takes the place of multi-instrumentalist Thor Harris (who’s on sabbatical), and he’ll join guitarist Norman Westberg, steel guitarist Christoph Hahn, drummer Phil Puleo, and bassist Christopher Pravdica. Opening both nights is improvising cellist Okkyung Lee, who appears on the new record’s “Cloud of Unknowing,” but at press time there’s no word on whether or not she’ll join Swans onstage to perform it.

—BILL MEYER

SATURDAY16 John Carpenter 9 PM, Thalia Hall, 1807 S. Allport, sold out. 17+ In 2012 former Reader music writer Miles Raymer spoke with horror director John Carpenter, presenting the angle that the filmmaker/composer’s minimalist synth-loaded and experimental scores for classics like Halloween, Escape From New York, and They Live were presently influencing and subtly shaping the landscape of electronic dance music.

Not three years later, Carpenter edged alongside the pack and released his first solo record, Lost Themes (also alluded to by Raymer in his piece), thus reanimating his vintage dystopian vibe without the bother of corresponding a movement’s ebb and flow with what’s happening onscreen. And though that album and its sequel, the new Lost Themes II (Sacred Bones), occasionally sound like Carpenter going out of his way to imitate a version of himself from 35 years ago, they both blend ambient synths, orchestral flourishes, and hearty rhythms to construct chilling and stalking (and sometimes exultant) sound designs. Tonight Carpenter will be joined by a six-piece band that includes his son, Cody, and Daniel Davies (son of the Kinks’ Dave Davies), both of whom have been key contributors to the records. He’ll perform new material as well as “themes from his classic films,” and I’m told there will be a large projection setup—so you can probably guess what will be happening up there.

—KEVIN WARWICK

Girl Band Lasers and Fast and Shit open.

11 PM, Beat Kitchen, 2100 W. Belmont, $14, $12 in advance. 17+ I’m a jaded piece of shit about rock bands. If they don’t tear my face off by the end of the first song, I can’t be bothered. But here I am, talking about Girl Band from my missing face. This Dublin noisepunk four-piece sound like they make music with high-tension cables and bricks of steel wool. On their only full-length, 2015’s Holding Hands With Jamie (Rough Trade), guitarist Alan Duggan and bassist Daniel Fox hammer and scrape at every part of their strings, so that their “riffs” come out as organized patterns of chattering, scribbling, and shrieking. They often lunge or drift in pitch instead of stepping from note to note—I assume they’re playing with slides, though they might be using crescent wrenches. Or subway rails. Girl Band break up their bent gestures and heaving surges with gashes of silence and detonations of caustic noise, and their capacity for quiet and restraint gives terrifying force to their conflagrations of unpitched

fuckery. Despite their ugly primitivism, though, they employ sophisticated structures and arrangements, like an abstract expressionist who paints with a push broom and a flamethrower. Drummer Adam Faulkner keeps his trashy but regimented beats taut at any speed, and the stark, martial simplicity of his playing makes the occasional odd bar length or dropped beat especially jarring. Front man Dara Kiely moves between a broken croon, a smeary, dragging drawl, and a tortured howl—his apathy and anguish create more tension in this kind of music than the usual angry yelling. Girl Band are tightly controlled and scarily unhinged, and thanks to Kiely, they sound like they don’t give a fuck if that combustible mix blows sky-high. On their first visit to Chicago, they also play at 1:45 this afternoon on the Red Stage at the Pitchfork Music Festival (see page 21 for plenty more on the festival).

—PHILIP MONTORO

Pape Cheikh Diouf & La Generation Consciente 9 PM, Maurer Hall, Old Town School of Folk Music, 4544 N. Lincoln, $30, $28 members. b The great Senegalese singer Youssou N’Dour, long entrenched as an international superstar who’s experimented with fusions both compelling (his embrace of Arabic classical music on Egypt) and tedious (his dalliance with reggae on Dakar-Kingston), now serves as his homeland’s minister of tourism. He made his name as the greatest exponent of mbalax, a hard-hitting, homegrown style marked by frenetic, convulsing beats played on sabar drums (the local variant on Nigerian talking drums) and featuring massive loping grooves, high-velocity arpeggios articulated on electric guitar or keyboards, and soaring vocals that derive their deep-seated power from the cries of a muezzin. In recent years, though, Pape Cheikh Diouf has stepped up to inherit the throne. Since he started making records in the late 90s, his popularity has grown steadily, and though he lacks the innovation N’Dour, his voice is a marvel.

The production on his most recent album, Ràkkaaju (Prince Arts), isn’t especially compelling—surging sabar beats are surrounded by synthesizers, the occasional kora lick, and distant harmony singing—but that only makes Diouf’s powerful sound more impressive. Still, records are no way to enjoy the unique thrill of mbalax. This rare Chicago performance is exciting—the blur of movement during a live show is as heart-stopping as anything in music.

—PETER MARGASAK

Swans See Friday. Okkyung Lee opens. 11 PM, Lincoln Hall, 2424 N. Lincoln, $32, $28 in advance

SUNDAY17 Dave King Trucking Company 9 PM, Hungry Brain, 2319 W. Belmont, $15, $12 in advance.

Dave King, the wonderfully aggressive, disruptive, driving drummer in the Bad Plus, balances his prankish side with heart-on-sleeve sincerity. He’s not into archness. He’s a jazz percussionist who’s never abandoned his love of or interest in rock music,

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and of his many groups none manages to incorporate all sides of his personality like Trucking Company. On the combo’s latest and best album, Surrounded by the Night (Sunnyside), he intertwines jazz and rock interests more thoroughly than ever— yet at the same time the music has nothing to do with fusion. Opening with a tightly coiled, skittering passage that blends frenetic beats, stabbing guitar chords from Erik Fratzke, and languid unison horn lines from saxophonists Chris Speed and Brandon Wozniak, “Parallel Sister Track” has me thinking every time that the band’s about to launch into a cover of Steppenwolf’s “Magic Carpet Ride” when the organ-stoked chug of the chorus kicks in. Instead it veers into a dexterously corkscrewing melody closer to Ornette Coleman than John Kay. King loves to settle into fat backbeats, but he also loves to trip them up with spastic eruptions, and the rest of his group—which now includes the sublimely melodic bassist Chris Morrison—always has his back, lending stability or chaos as the situation warrants.

—PETER MARGASAK

Maren Morris Part of the Windy City Smokeout (see page 33). 6:45 PM set time, 560 W. Grand, $45-$89, $110-$250 three-day pass, children under 12 free. b Mainstream country has long made room for trends that fall outside the genre, like the flanged guitar neutered from 70s psychedelia or the gut-punching rock flourishes imparted by early Steve Earle. I haven’t stopped experiencing a degree of cognitive dissonance when hip-hop makes its way into the formula, but I suppose I’d better get used to it. On her recent debut album, Hero (Columbia), Texas singer Maren Morris shows her affection for both hip-hop and contemporary R&B, and I’ll admit the record has a certain appeal, if only as a disposable product. On the opener, “Sugar,” she swipes Beyonce’s swerving, finger-wagging phrasing and applies it to a series of come-ons, though she’s more interesting when serving up the blame. Larded with rap cadences, “Rich” makes hay from the time-tested “If I had a dollar” structure as Morris visualizes bling while acknowledging her beau’s indifference. But as funny as the image of “Me and Diddy drippin’ diamonds like Marilyn” might be, her essence comes through better when she asserts, “If I had a dime every time you crossed my mind / Well, I’d basically be sitting on a big pile of dimes.” On the gospel-streaked “My Church” she celebrates listening to the radio as her form of religion, while she drops “shit” and “bullshit” all over “Drunk Girls Don’t Cry,” a dump-the-loser rave-up that’s one of several songs

in which Morris flouts her language in the face of Nashville propriety. I’m skeptical that I’d want to listen to this stuff in a few years, but for now it does its job. —PETER MARGASAK

MONDAY18 Castle Freak Paucities, XAbruptX, and Minimum Wage Assassins open. 9 PM, LiveWire Lounge, 3394 N. Milwaukee, $8.

As a palate cleanser following a weekend at Pitchfork, you could do a lot worse than Castle Freak.

The Philly outfit are neither hip nor critically acclaimed; instead they stuff the quintessence of non-Pitchforkness into two-minute blasts of grindcore leavened by occasional horror-movie audio clips. Their most recent EP, the self-released Human Hive, out earlier this year, sums up the approach: Andrew Gigan mashes together snotty skate-punk and death-metal vocals while the rest of the band race ahead as if being chased by ax murderers and/ or very speedy zombies. True to its title, the title track sounds like bees trying to claw their way into your nasal cavity, while “Toxic Winds” flirts with a bluesy groove before revving up to ranting speed.

When the band opt for a cover, it’s not a way to expand their stylistic range but to pay tribute to the verities—their version of grindcore-grandpa Impetigo’s “Boneyard” is faithful down to the spoken-word serial-killer intro. Castle Freak have no pretentions, no frills, and no main stage, but if you’re looking for whiplash induced via excessive headbanging, they’re here for you. —NOAH BERLATSKY

TUESDAY19 Goggs See also Wednesday. Running and Choke Chains open. 9 PM, Empty Bottle, 1035 N. Western, $15.

Chris Shaw of Ex-Cult is no Iggy Pop when it comes to shouting into a microphone, but when he and the rest of his skuzzy pals in Goggs kick into overdrive halfway through “Falling In”—accented by a well-articulated howl—they do a pretty good job at summoning the throttling power of vintage Stooges. Alongside Shaw the nonstop Ty Segall, a guy who clearly can’t sit still, and Charles Moothart—who plays in Fuzz with Segall—switch between guitars and drums as the trio pushes deep into the red (natch, the

eponymous debut was released by In the Red).

Cory Hanson of Wand and Mikal Cronin lend some help, but little can penetrate the snarling, unhinged blast of primal punk kicked out by the threesome. What sets Goggs and so many Segall projects apart from the daily profusion of grimy rockers is that the music swings, hurtling, spewing, and belching with an undeniable buoyancy. The songs are mostly afterthoughts, but nobody will really bother parsing details when the rush of power throws them against the wall.

—PETER MARGASAK

Suenolas Moon Bros. and Distractions open.

9 PM, Hideout, 1354 W. Wabansia, $7.

Rob Frye is best known for his woodwinds skills, which bring a serene melodicism to the trance grooves of Bitchin Bajas among a slew of other outfits. He also applies his imagination to a broader array of techniques and instruments with consistently dazzling, beguiling results. Earlier this year I wrote about his project Flux Bikes, in which he mutates a bicycle to emit hypnotic epics enhanced by a variety of instruments. The rhythms and timbres he generates on the recent split-cassette release on Lake Paradise is remarkable. And the other half of the double-tape project is even more rewarding. Sueñolas is a project built primarily around the guitarra de son, a plucked four- or fivestringed lute used in Mexican son jarocho music.

Aided by the the primitive Casio SK60, Frye samples different progressions, arpeggios, and patterns he plays on the instrument, running them back in time-warping, pitch-shifting patterns—thus generating a harp-like quality—while ditching the instrument’s folkloric provenance. On the tape’s first side his episodic creations are complemented by guitarist Bill MacKay and violinist Whitney Johnson (Matchess), who both embroider Frye’s rapid flurries of notes with leisurely phrases and bittersweet counterpoint. On the flipside Frye goes it alone, expanding his arsenal of samples to include organs, flutes, guitars, pianos, synths, and drums, and camouflaging every sound with electronics to deliver a series of mesmerizing vignettes that flow from one to the other. —PETER MARGASAK

WEDNESDAY20 Goggs See Tuesday. Absolutely Not and Soddy Daisy open. 9 PM, Empty Bottle, 1035 N. Western, $15. v

Never miss a show again.

EARLY WARNINGS chicagoreader.com/early

JULY 14, 2016 - CHICAGO READER 35

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Fried Green Tomato with Marinated Strawberry, Woodford Balsamic Reduction, Goat Cheese

paired with NYQUEST: Woodford Reserve, Strawberry Preserves, fresh grapefruit juice, garnish with strawberry and mint SECOND COURSE

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paired with SADDLE AND STIRRUPS: Woodford Rye, Campari, Grand Mariner, fresh grapefruit juice, ginger syrup, garnish with an orange twist

Filet Medallion with Potato Puree, Boozed Brussels, Woodford Demi-glace, black pepper and parmesan butter

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36 CHICAGO READER - JULY 14, 2016

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FOOD & DRINK

R BEACON TAVERN | $$$

405 N. Wabash 312-955-4226 beacontavern.com

NEW REVIEW

Getting high (on butter) at Beacon Tavern Billy Lawless’s new seafood-focused restaurant is intoxicating.

By AIMEE LEVITT

$1.25 TACOS TUESDAYS (CHICKEN, GROUND BEEF, CHORIZO OR CARNITAS)

$6.99 EVERYDAY LUNCH PLATE SPECIAL 8AM-4PM • AVAILABLE FOR DELIVERY

BUY 1 DINNER AT REGULAR PRICE, GET THE 2ND 1/2 OFF

(2ND DINNER IS OF EQUAL OR LESS VALUE • DINE IN ONLY)

2829 N MILWAUKEE

4651 N CLARK · 5959 W GRAND

OPEN 24 HRS • WE DELIVER

773·227·1688 ELRANCHITORES.COM

BREWS

BLUES —AND—

W Lobster bucatini; snapper crudo ! DANIELLE A. SCRUGGS

e had reasons for feeling giddy after dinner at Beacon Tavern, Billy Lawless’s new restaurant in a former McDonald’s behind the Wrigley Building. It was a beautiful summer night. We were on the brink of a three-day weekend. And we had just eaten a splendid meal.

All these things should have engendered a general feeling of happiness and well-being, but not this much stupid hilarity. “Look at that table!” my friend said as we crossed the plaza outside Trump Tower, pointing to a small round metal two-seater. “How did that get there?” “It’s YUGE!” I yelled. “It’s the best, most beautiful table in the world!” “It’s making America great again!” my friend yelled back. We stopped. We tried to think of more Trumpian praise to heap upon the poor table. Our wit deserted us. Instead we giggled, like we’d just split a bong J

WITH THE ORIGINAL CHICAGO BLUES ALL-STARS MONDAY NIGHTS ALL SUMMER LONG

NO COVER · 6-10 PM CHECK WEBSITE FOR DATES

MOTORROWBREWING.COM 2337 S MICHIGAN · CHICAGO 312.624.8149

JULY 14, 2016 - CHICAGO READER 37

A UTH E NTI C PH I LLY C H E E S E STE A K S !

FOOD & DRINK continued from 37

OVER 50 CRAFT BEERS + CIDERS — DAILY DRINK SPECIALS —

As seen on Food Network, Chicago’s Best and Hungry Hound!

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or a few coconut shells of kava, though in reality, we’d had just one gin and tonic between us.

Now that I’ve had some time to think about it, I think the cause of our giddiness was the bucatini with Maine lobster and floral curry butter sauce. I don’t mean to imply that the chef, Bob Broskey (formerly of L20 and Intro), uses illegal substances in his kitchen. He does really like butter, though, and this dish is proof that lots of butter does indeed make everything better. Here it’s lightly perfumed with curry and lime and poured over a plate of tender, chewy noodles and generous chunks of lobster knuckle and tail that still taste like the ocean.

I ate my portion too quickly and then spent several minutes watching in silent resentment as my friend slowly cut her lobster into smaller pieces and twirled them together with the noodles into a perfect bite. When our server came by to check on us, she admitted that she came in on her day off to eat the bucatini. “It’s magical!” my friend said, with full-hearted conviction.

Nothing else we ate that night, or anything I ate during a subsequent visit, qualified as magical. I don’t mean that as a slight. How many things have you eaten in your entire life that you would describe as magical? The one thing that came close was the grilled bacon sandwich, technically a slab of pork belly cooked to the precise point where the meat was slightly charred but still meltingly tender, covered in a sweet and tangy root-beer glaze, served on a grilled bun with frisee and a mustard aioli. I let my companion on this visit have a bite while I tasted his grilled chicken. “I like that chicken,” I said. It was juicy, with a pleasant citrusy tinge. “It’s good,” he replied. “But the bacon is special.” He looked sad as he handed the sandwich back to me, and he watched me finish it with an expression that was probably quite similar to the one on my face while I watched my friend eat her bucatini.

So there’s magical, and there’s special, and there’s also very good, which is how I’d rate most of the other dishes I tried at Beacon Tavern. Broskey specializes in raw seafood, and the menu, which changes slightly every day depending on what’s available, is full of oysters, crudo, shrimp, and crab. The oysters arrived at the table cold and still full of liquor. They came with mignonette and house-made green “Tabasco sauce,” but after a cursory taste, I felt no need to use either. The snapper crudo was almost too exquisite to eat: delicate morsels of fish dusted with charred onions served with dollops of strawberry sauce and clusters of trout roe, “poor man’s caviar,” our server told us. My J

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S P O N SO R ED CO NTENT

DRINK SPECIALS LINCOLN PARK

ALIVEONE

2683 N Halsted 773-348-9800

LINCOLN PARK

DISTILLED CHICAGO

1480 W Webster 773-770-3703

AVONDALE

BERWYN

LINCOLN SQUARE

2829 N Milwaukee 773-227-1688

6615 Roosevelt 708-788-2118

2829 N Milwaukee 773-942-6012

EL RANCHITO

FITZGERALD’S

MONTI’S

NEAR SOUTH SIDE

WICKER PARK

ROGERS PARK

SOUTH LOOP

7006 N Glenwood 773-274-5463

2105 S State 312-949-0120

REGGIE’S

RED LINE TAP

2337 S Michigan 312.624.8149

PHYLLIS’ MUSICAL INN

1800 W Division 773-486-9862

Happy Hour 4-6pm, $2 off all beers

Moosehead pints $3.75, Hamms cans $2.50, Special Export Bush Longneck bottles $3, Foster Big cans $5

$4 Hell or High Watermelon

Bombs $4, Malibu Cocktails $4, Jack Daniel’s Cocktails $5, Tanqueray Cocktails $4, Johnny Walker Black $5, Cabo Wabo $5, PBR Tallboy cans $2.75

Happy Hour noon-6pm, $2 off all beers

Moosehead pints $3.75, Hamms cans $2.50, Special Export Bush Longneck bottles $3, Foster Big cans $5

$5 Stella, $3 mystery shots

Wine by the Glass $5, Jameson $5, Patron $7, Founders 12oz All Day IPA Cans $3.50, Mexican Buckets $20 (Corona, Victoria, Modelos)

Moosehead pints $3.75, Hamms cans $2.50, Special Export Bush Longneck bottles $3, Foster Big cans $5

$3 Corona and $3 mystery shot

Heineken Bottles $4, Bloodies feat.

Absolut Peppar Vodka $5, Original Moonshine $5, Corzo $5, Sailor Jerry’s Rum $4, Deschutes Drafts $4, Capt. Morgan cocktails $5

MOTOR ROW BREWING

THU

$4 Lagunitas drafts, $4 Absolut cocktails, “Hoppy Hour” 5pm8pm = 1/2 price IPAs + pale ales

50% off wine (glass & bottle) and salads

$1.50 Margaritas

$6 Firestone Walker Opal pints, $6 Finch Vanilla Stout 16 oz. cans, $7 house wines $8 Few Spirits

FRI

“Hoppy Hour” 5pm8pm = 1/2 price IPAs + pale ales

$6 Jameson shots, $5 Green Line; 50% off chicken sandwich

$2.99 Margaritas de Sabores

$6 Firestone Walker Opal pints, $6 Finch Vanilla Stout 16 oz. cans, $7 house wines $8 Few Spirits

S AT

$6 Jameson shots $3 PBR bottles

Brunch 11am to 2pm, Bottomless Bloody Mary’s & Mimosas $15 with food purchase, 50% off nachos and $15 domestic/$20 craft beer pitchers

$6 Firestone Walker Opal pints, $6 Finch Vanilla Stout 16 oz. cans, $7 house wines $8 Few Spirits

SUN

$4 Temperance brews, $5 Absolut bloody mary’s

Brunch 11am to 2pm, Bottomless Bloody Mary’s & Mimosas $15 with food purchase, 50% off appetizers & $3 pints of Bud Light, Industry Night 10% off all items not discounted

$6 Firestone Walker Opal pints, $6 Finch Vanilla Stout 16 oz. cans, $7 house wines $8 Few Spirits

$4.75 Bloody Mary and Marias

Moosehead pints $3.75, Hamms cans $2.50, Special Export Bush Longneck bottles $3, Foster Big cans $5

$5 Rolling Rock $4 Benchmark, Evan Williams, or Ezra Brook

Buckets of Miller & Bud Bottles (Mix & Match) $14, Guinness & Smithwicks Drafts $4, Bloodies feat, Absolut Peppar Vodka $5, Ketal One Cocktails $5

MON

$4 Half Acre brews, FREE POOL, “Hoppy Hour” 5pm-8pm = 1/2 price IPAs + pale ales

all beer 50% off, $5 burgers

$2.99 Coronas

CLOSED

$1 off all beers including craft

Moosehead pints $3.75, Hamms cans $2.50, Special Export Bush Longneck bottles $3, Foster Big cans $5

$5 Oberon, $5 Moonshine

All Draft Beers Half Price, Makers Mark Cocktails $5, Crystal Head Vodka Cocktails $4

TUE

$2 and $3 select beers

all specialty drinks 50% off, $2 tacos

$1.99 Apple Martinis

$6 Firestone Walker Opal pints, $6 Finch Vanilla Stout 16 oz. cans, $7 house wines $8 Few Spirits

$2 off all Whiskeys and Bourbons

Happy Hour 4-6pm, $2 off all beers

Moosehead pints $3.75, Hamms cans $2.50, Special Export Bush Longneck bottles $3, Foster Big cans $5

$4 Founders All Day IPA

Jim Beam Cocktails $4, Jameson Cocktails $5, Cabo Wabo $5, Malibu Cocktails $4, Corona Bottles $3.50, PBR Tall Boy Cans $2.75

WED

1/2 price aliveOne signature cocktails, $4 Goose Island brews, “Hoppy Hour” 5pm8pm = 1/2 price IPAs + pale ales

50¢ wings (minimum 10), selection of 10 discounted whiskeys

Happy Hour 4-6pm, $2 off all beers

Moosehead pints $3.75, Hamms cans $2.50, Special Export Bush Longneck bottles $3, Foster Big cans $5

$2 PBR, $5 wine

Stoli/Absolut & Soco Cocktails $4, Long Island Iced Teas $5, Herradura Margaritas $5, Stella/Hoegaarden/ Deschutes Drafts $4, Goose Island 312 Bottles $3.50

$6 Firestone Walker Opal pints, $6 Finch Vanilla Stout 16 oz. cans, $7 house wines $8 Few Spirits $10 classic cocktails

$5 Martinis, Lemon Drop, Cinnamon Apple, Mai Tai, French, Cosmo, On the Rocks, Bourbon Swizzle, Pomegranate Margarita

OUR READERS LOVE GREAT DEALS! CONTACT A READER REPRESENTATIVE AT 312.222.6920 OR displayads@chicagoreader.com FOR DETAILS ON HOW TO LIST DRINK SPECIALS HERE.

PHOTO: ALEXEY LYSENKO/GETTY IMAGES

JULY 14, 2016 - CHICAGO READER 39

40 CHICAGO READER - JULY 14, 2016

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FOOD & DRINK

Chocolate banoffee pie ò DANIELLE A. SCRUGGS

continued from 38 companion on the first visit greedily spooned up the roe but visibly restrained herself when she saw a busser approach. “I’m not done with it,” she explained. As soon as the plate was out of danger of being cleared, she continued her mission of hunting down every tiny globule.

There’s cooked seafood, too. The scallops were slightly overdone, a rare misstep, but the dish as a whole was redeemed by savory hen of the woods mushrooms. The shrimp toast is not the paste-on-fried-bread kind you get at dim sum restaurants, but rather roughly chopped shrimp and greens served on a piece of soft brioche that’s been toasted just enough not to collapse. The whole thing arrives at the table in another glorious pool of butter.

(There’s a plate of shrimp heads, too, but they were overfried and superfluous.)

The land-food is less dramatic, but equally well done. There’s salty-sour white gazpacho with sweet green grapes, a perfect hotweather dish. There’s broccoli, spicy from green garlic and ever so slightly charred so it’s crisp and tender all at once. And there’s chocolate banoffee pie, more of a tart in pastry chef Kevin McCormick’s interpretation, with a thin layer of caramel smothered in chocolate mousse, studded with almonds, chocolate curls, and a very addictive chocolate brittle.

It’s almost too much, but the nice thing is, you can box it up and take it home.

The bar, as you might expect from Lawless’s other restaurants the Dawson and the Gage, is well-staffed and well-stocked even for non-drinkers: there’s a lovely lavender cola, dry with a sweet finish, and subtle enough that you don’t feel like you’re drinking fizzy shampoo.

The service is friendly and attentive; the serv-

ers and bussers make sure the dishes arrive from the kitchen at regular intervals, even on a busy night. The tables are just far enough apart that you don’t have to listen in on your neighbors’ conversation unless you make an effort. In good weather, the windows open out onto the river. This is what fine dining should be.

Although I must admit, the food high is something else. After that first dinner, I walked up Michigan Avenue to catch a bus home and heard music from underground.

At first I wondered if I was hallucinating. But it was only a dance party on Lower Wacker Drive. A world with floral curry butter in it, I thought, can be a marvelous place indeed. v

v @aimeelevitt

Saturday & Sunday

BRUNCH 11am-2pm BOTTOMLESS BLOODY MARY’S & MIMOSAS – $15 W I T H F O OD PU RC H A S E –

FRI 5PM-2AM • SAT & SUN 11AM-2AM 14 80 W W EBS TER • CHICAGO 773 -770 - 3703

JULY 14, 2016 - CHICAGO READER 41

General

JOBS

ADMINISTRATIVE BOUTIQUE LOOP LAW firm seeking a well-organized full-time Docket Clerk. Duties include, but not limited to, maintaining and updating the firm calendar of hearing dates; entering court dates into the Attorney's calen-dar system; distributing docket re-ports; attending daily call @ the IWCC. Ideal candidate must have ex-cellent communication skills and works well independently. Please submit all resumes to lchambers@k-feej.com. PLEASE NO PHONE CALLS! LOOP LAW FIRM is in need of an

experi-enced, organized, dependable secre-tary to join our Workers' Compensa-tion department. Candidate must possess excellent typing skills, com-munication skills and dictaphone skills. Legal experience not neces-sary, will train. Please email resumes to lchambers@kfeej.com.

Please NO PHONE CALLS!

SALES & MARKETING TELEMARKETING FLEXIBLE HOURS. Telemarketers wanted.

Experience a plus, but not necessary.

Paid training. Starting salary $10/hr. with substantial bonus on sales and appointments plus additional incentives for performance. This is a full or part-time position, days or evenings.

If you are a self-motivated, goal orientated person looking to be part of a growing team; APPLY NOW! Please call for interview or send a resume to GM Goldman & Associates, Inc., 847-675-3600. Lincolnwood, IL. Touhy & Cicero, beisen@gmgoldman. com

TELE-FUNDRAISING:

American Veterans Helping Veterans. Felons need not apply per Illinois Attorney General regulations.

Start ASAP, Call 312-256-5035

NAVIGANT CONSULTING, INC. (HQ Chicago, IL) seeks Managing Consultants for various & unanticipated worksites throughout the US to manage large-scale projects, address business issues, strategy dev., analysis, advising & business planning for the pharma., biomedical & biotech. industries.

Master’s in Healthcare/ Biomedical Eng/ Neuroscience/Biophysics/related field +2yrs exp. or Bachelor’s in H ealthcare/Biomedical Eng/ Neuroscience/Biophysics/related field +5yrs exp.req’d. Must have exp performing market & pipeline analysis for biotech., biomedical & pharma. companies, perform launch & life cycle mgmt. activities in large pharma. companies (> $200B), providing strategic analysis & advice on pricing & revenue forecasting to inform investment decisions, intl market access issues (EU5, Asia & Latin America) for both in-patient & out-patient pharmaceuticals & devices, commercialization of biosimilars in US & intl markets, launch activities for biomedical devices (implants, DME, monitors) & pharmaceuticals, conducting Stakeholder interviews (physicians & payers) to dev. market opportunity frameworks & access strategies, conducting advisory & workshops w/ physicians & KOLs & w/ Matlab, R, SQL, Truven, Medpar, H-CUP. Apply online: htt p://careers.navigant. com/jobs_search/ (Job ID #6373) HAVI GLOBAL SOLUTIONS LLC is seeking a Sr. Developer Analyst in Downers Grove, IL with the following requirements: Bachelor’s degree in Computer Science or IT plus 5 years related experience including: implement and maintain software applications utilizing JDA SCPO in the Supply Chain industry and provide end-user training on the tool; engage in SDLC, production implementation and provide postproduction support; provide application support in production environment uti-

MARKETINGASSOCIATE MANAGER MARKETING We are looking for a self-motivated marketing manager with experience in digital and print media. This role will manage critical initiatives to support the growth of print, digital and experiential products.

Essential Functions: - Develop communication materials and programs to support: marketing initiatives, promotional advertising, audience/subscription development, advertising sales presentations and partnerships - Create presentations for meetings either from scratch or using existing templates - Print/bind materials for the sales/advertising team - Manage trade process including contract review, submission for approval, communication between parties, and management of trade assets - Event support as needed (may require some evenings or weekends) - Manage relationship with media data services (SRDS, NDX, etc.)

- Analyze and maintain information on team and individual performance to goal for Sun-Times Media products - Work cross departmentally to collect and analyze advertiser campaign data, prepare wrap-up reports for account executives to share with clients - Ensure quality and delivery of marketing initiatives, reporting, and budget management - Coordinate projects and events that may involve multiple departments (editorial, audience/circulation, sales, marketing, 3rd parties) - General support for all marketing team personnel including but not limited to: * Basic audience requests involving information requests in the Scarborough and Nielsen Claritas systems * Basic analytics reporting using the Google Analytics interface - Other duties and projects as assigned Qualifications: Education and Experience - College degree, preferably in marketing or related field - 2-3 years professional office experience Skills: - Proficient in Microsoft Powerpoint, Excel, and Word - InDesign, Scarborough, Google Analytics familiarity is a plus - Ability to handle multiple projects with strict deadlines - Excellent written and spoken communication skills for customer service, presentations, and coordination between internal and external stakeholders - Strong organizational skills - Analytical mindset with ability to deconstruct complex problems and conceptualize solutions Resumes can be mailed, emailed or faxed to the following address: The Chicago Sun Times Attn: Human Resources – Marketing Manager 350 N. Orleans, 10S Chicago, IL 60654 Fax: (312) 321-2288 Email address: hr@suntimes.com – Please note Marketing Manager in the subject line.

The Chicago Sun Times is an Equal Opportunity Employer

42 CHICAGO READER | JULY 14, 2016

lizing Oracle, AIX and JDA SCPO technologies by troubleshooting issues, fixing bugs, performing system health checks, maintaining JDA environments, analyzing and providing answers to user queries and ensuring business critical SLAs are met; convert legacy applications to applications utilizing JDA SCPO to perform similar or enhanced functionalities.

Applicants: Please e-mail resume to vott@Havigs.com and reference Code 053083 in subject line of e-mail.

VISUAL THERAPIST NEEDED

(with or without experience) Seeking a college educated individual for a permanent part-time employment in Evanston working with children and adults in a Behavioral Vision Training program with Dr. Jeff Getzell, O.D. Experience preferred but not required for the right individual. Dr. Getzell is willing to work with an individual at an entry level, should there be no previous medical experience.

Requirements: -Exceptional problem solver -Bright -Curious -Open minded Work schedule: -Tuesdays, Wednesdays, Fridays 2pm-6pm -Saturdays 8am-12pm Please note that the employment hours are not flexible.

Resume submission options: -behavioraloptometry@gmail.com -Fax: 847-866-9822 No phone calls please.

VISUAL THERAPIST NEEDED

(with or without experience) Seeking a college educated individual for a permanent part-time employment in Evanston working with children and adults in a Behavioral Vision Training program with Dr. Jeff Getzell, O.D. Experience preferred but not required for the right individual. Dr. Getzell is willing to work with an individual at an entry level, should there be no previous medical experience.

Requirements: -Exceptional problem solver -Bright -Curious -Open minded Work schedule: -Tuesdays, Wednesdays, Fridays 2pm-6pm -Saturdays 8am-12pm Please note that the employment hours are not flexible.

Resume submission options: -behavioraloptometry@gmail.com -Fax: 847-866-9822 No phone calls please.

COMPUTER/IT: SR INTRANET

APPLICATIONS SPECIALIST, Loyola University, Chicago, IL, Responsible for designing, writing, modifying, testing, debugging, documenting, and implementing applications using technologies such as Java, Spring, Web Services, SQL, JSP, JavaScript, XML, and AJAX; gathering and analyzing business requirements; providing project management for multiple development and implementation projects; integrating new applications with existing systems; and developing best practices. Responsibilities may include the development of mobile applications. Requires Bachelor’s degree in Computer Science, Engineering or Mathematics or related field of study. Any applicant who is

interested in this position may apply to the following for consideration: Web Development Manager, ITS, 1032 West Sheridan Rd., Chicago, IL 60660.

COMPUTER/IT: HARRIS ASSOCIATES LP seeks Senior Analyst,

Eagle in Chicago, IL to deliver data, reporting & productivity capabilities.

Req Bachelor’s in Eng, Comp Sci or rel’d + 5 yrs exp in job offered or financial srvcs rel’d role. Must have exp w/enterprise data platforms, incl.

Eagle Pace, SharePoint, ServiceNow, SalesForce & Charles River; analyze & manage large datasets using desktop tools; SSRS report writing, &/or BI reporting tools such as Tableau or Cognos; proficient in MS Access/ Excel & technically oriented elements such as Macros & Visual Basic; Agile methodology, investment products, services & terminology; write & understand complex SQL queries. Email resume to lhilton@harrisassoc.com

COMPUTER/IT: UL LLC

(Northbrook, IL) seeks IT Manager w/Master’s in CS, Electronic Eng’g, or reltd. + 2 yrs. exp. in IT Development or as a Technology Lead (or BS+5).

Must have exp. in the following: 1) C#. Net; 2) Visual Basic 6; 3) IBM Domino and Lotus Notes environment; 4) “Service-now” support technology; 5) Unix Shell Scripting; 6) PL SQL; and 7) ASP. Net. Apply at UL.com. No calls. EOE.

SOFTWARE DEVELOPER — Chicago, IL, Comcast Cable Comm., LLC. Contribute to team resp for build & maintain SW apps used by cable media sales groups to perform various functions.

Reqs. Bach in CS, Engin, or rltd & 1 yr. exp develop .Net, web-based SW in Agile environ, utilize C#, VB. NET, JavaScript, HTML & CSS. Apply to: denise_mapes@cable. comcast.com. Refer to Job ID# 0296 SOFTWARE DEVELOPER — Chicago, IL, Comcast Cable Comm., LLC. Contribute to team resp for maintain ad-placementmarketplace SW & ratings engines that power it. Reqs. Bach in CS, Engin or rltd & 2 yrs. exp develop SW in Agile environ, utilize any of these techs: C# and/or VB.NET, JavaScript and/or HTML & SQL. Apply to: denise_mapes@cable. comcast.com. Refer to Job ID# 0359 DAIRY PRODUCTION ENGINEER: Dixon IL. Oversee dvlpnt of

new dairy products acc to trad European recipes/ methods. Spec in European dairy prod incl European cottage cheese, kefir, spread cheese.

Impl new tech & prod lines. Quality control. Sup food processing. Bachelor in Agriculture or Food Production + 2 yrs exp as dairy production technologist. Res: Ludwig Dairy, Inc., 1270 Mark St, Elk Grove Village IL 60007

NUTS ON CLARK POPCORN

U JOO NATURE’S CO at 6420 N. Hamlin Ave., Lincolnwood, IL seeks a laborer to manually plant, cultivate, and harvest bean sprouts and to clean, pack, and load harvested products. Apply by email to ujoonatures@gmail.com, call 847 933 9007 to schedule an appointment or ma il.

CABLE & MAIDS. 1 Block to Orange Line 5300 S. Pulaski 773-581-1188

BIG ROOM with stove, fridge, bath & nice wood floors. Near Red Line & Buses. Elevator & Laundry, Shopping. $121/wk + up. 773-561-4970

RENTALS

STUDIO $600-$699 PARK!

CROSSROADS HOTEL SRO SINGLE RMS Private bath, PHONE,

NICE ROOM w/stove, fridge & bath Near Aldi, Walgreens, Beach, Red Line & Buses. Elevator & Laundry. $130/wk & up. 773-275-4442

REAL ESTATE ROGERS

7411 S. WABASH. Nice 2BR,

$750/mo. Seniors Welcome. Quiet block, 773-717-6092

7455

N. Greenview. Studios starting at $625 including heat. It’s a newly remodeled vintage elevator building with on-site laundry, wood floors, new kitchens and baths, some units have balconies, etc. Application fee $40.

No security deposit! For a showing please contact Samir 773-627-4894 Hunter Properties 773-477-7070 www.hunterprop.com

ROGERS PARK! 1357-67 W

Greenleaf. Studio starting at $695 including heat! Close to transportation, laundry on premises, beautiful courtyard building. One block to Loyola Beach! $40 application fee. No security Deposit. For a showing please contact Samir 773-627-4894 Hunter Properties 773-477-7070 www. hunterprop.com

EDGEWATER!

1061 W. Rosemont. Studios starting at $625 to $675, All Utilities included! Elevator building! Close to CTA red line train, restaurants, shopping, blocks to the lakefront, beaches and bike trails, laundry onsite, remodeled, etc. For a showing please contact Jay 773835-1864 Hunter Properties, Inc. 773-477-7070 www.hunterprop.com

4200 BLOCK OF W. GRENSHAW, newly decor bsmt studio apt, kit appls furn, incl heat. $675/mo + $675 sec. dep. Senior preferred 773-785-5174 7500 SOUTH SHORE Dr. Brand New Rehabbed Studio & 1BR Apts from $650.

Call 773-374-7777 for details.

MARQUETTE PARK: 6315 S California St, udios from $600. Free

heat and appliances. Free application fee. Call 312-593-1677

STUDIO $900 AND OVER NORTH CENTER GORGEOUS

studio apartment w/ hardwood floors, ample light and great location. $1100/month Call 773.463.0501 for showings

1 BR UNDER $700 QUALITY

APARTMENTS,

Great Prices! Studios-4BR, from $450. Newly rehabbed. Appliances included. Low Move-in Fees. Hardwood floors. Pangea - Chicago’s South, Southwest & West Neighborhoods. 312-985-0556

7022 S. SHORE DRIVE Impecca-

bly Clean Highrise STUDIOS, 1 & 2 BEDROOMS Facing Lake & Park.

Laundry & Security on Premises.

Parking & Apts. Are Subject to Availability. TOWNHOUSE APARTMENTS 773-288-1030

JUST IN NEWLY REMODELED APARTMENTS. Throughout Chicagoland area. 1 BRs w/gas starting at $650/mo. 2BR & up starting at $850/mo. No Sec dep.

No App fee with ad. Section 8 acce pted.773.870.1812 Wesley Realty

MUST SEE! WON’T LAST! 7000 S Talman, 2BR w/balc, formal DR, walk-in pantry, Lndry in bsmt, hdwd flrs/moldings, ceiling fans, $925. Owner pays heat, 773-5680130 MIDWAY AREA/63RD KEDZIE Deluxe Studio 1 & 2 BRs. All

modern oak floors, appliances, Security system, on site maint. clean & quiet, Nr. transp. From $445. 773582-1985 (espanol)

79TH & WOODLAWN 1 B R $650-$700 2BR $775-$800; 76th & Phillips: 2BR $775-$800.

Remod, appls avail. Free Heat.

Sec 8 welc. 312-286-5678 CHICAGO, 8633 S MARYLAND, 1BR, 1st flr, completely renovated, hdwd ceramic tile, A/C, appls, heated. $650 + sec. Call 773-874-2103 CHICAGO SOUTH - YOU’VE tried the rest, we are the best.

Apartments & Homes for rent, city & suburb. No credit checks.

773-221-7490, 773-221-7493 7000 S. MERRILL, 2BR, hdwd flrs, lrg sunrm, new remod., cable ready, lndry, O’keefe Elem, $800/ mo. Sec 8 welcome. 708-3081509, 773-493-3500 STUDIOS AND 2 BRS

STUDIO OTHER

Stores now hiring in Chicago for all locations...Earn $ while working with a team. Get paid while training.

Jobs Available Now Midway/O’Hare Airports. Apply in person @ corp. office: 3830 N. Clark St. Chicago.

9am-10am Mon-Fri. Must bring ID’s and Social Security Card to apply.

CLEAN ROOM W/FRIDGE & micro, Near Oak Park, Food -4Less, Walmart, Walgreens, Buses & Metra, Laundry. $115/wk & up.

773-637-5957

ARE YOU HIV+? Aged 18-64? Interested in Research? Call Jake at 312-996-0745

Hotel, 5316 S. Harper, maid, phone, cable ready, fridge, private facilities, laundry avail. Start at $160/wk Call 773-493-3500

CHICAGO, HYDE PARK Arms

67th/ Jeffery & 56th/Wabash UPDATED UNITS! NO MOVE IN FEE! ONE MONTH FREE! livenovo.com or Call

312-445-9694

SUMMER SPECIAL $500 To-

ward Rent Beautiful Studios 1, 2, 3 & 4 BR Sect. 8 Welc. Westside Loc, Must qualify. 773-287-4500 www. wjmngmt.com

NEWLY DECORATED 4 Rms,

2BR, $650; 5800 Block S Wabash, Lambert Realty 773-287-3380

ADVERTISERS BROADCAST SERVICES, INC. In business 33 years and counting

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Sales experience •• Sales experience aa plus, plus,but butwill willtrain train • Fair treatment in a relaxed atmosphere • Fair treatment in a relaxed atmosphere Easy access access transportation transportation at at Dempster Dempster and •• Easy and I-294 I-294 • Higher commission for radio time sales veterans

Call Steve Scott after 9am @ 847-298-6400 • WWW.ADVERTISERSBROADCAST.COM

Chicago, Beverly/Cal Park/Blue Island Studio $575 & up, 1BR $665 & up, 2BR $885 & up. Heat, Appls, Balcony, Carpet, Laundry, Prkg.

708-388-0170 BRONZEVILLE 4520 S King Dr.

Studio & 1BR Apts, utils incl. $635 & $ 750/mo + sec & application fee. M-F 9a-6p. 773-268-3725

BRIDGEVIEW AREA- LARGE

furnished Room in a single home. No drugs/alcohol. Deposit required 708-458-8610 or 708-436-4043

CHATHAM 8642 SOUTH Maryland 1BR, modern with appliances, off street parking. $600/mo + sec. 773-618-2231 CHICAGO SOUTHSIDE 81ST & Clyde 4 rms, 3rd Floor Newly Decorated Stove/Frig, $600/mo + 1 mo sec, 773-268-2796

CHICAGO, 82ND & JUSTINE. 1BR. near transportation. $650$695 /mo. 1 month rent + 1 month Security. Heat is incl. 773-873-1591 û NO SEC DEP û 6829 S. Perry. 1BR. $520/mo & 1431 W. 78th St. $2BR. $600/mo HEAT INCL 773-955-5106

CHICAGO - SOUTH SHORE Large 1BR, $6 60/mo. Free heat.

Near Transportation. Section 8 Welcome. Call 708-932-4582 CHICAGO - HYDE PARK 5401 S. Ellis.

1BR $535mo CALL 773-955-5106 EXCHANGE EAST APTS 1 Brdm

$575 w/Free Parking,Appl, AC,Free heat. Near trans. laundry rm. Elec.not incl. Kalabich Mgmt (708) 424-4216 6930 S. SOUTH SHORE DRIVE Studios & 1BR, INCL. Heat, Elec, Cking gas & PARKING, $585-$925, Country Club Apts 773-752-2200

1 BR $700-$799 PLAZA ON THE PARK 608 East 51st Street. Very spacious renovated apartments. 1BR $722 - $801, 2BR $837 - $1,009, 3BR $1,082- $1,199, 4-5BR $1,273 - $1,405. Visit or call (773)548-9300, M-F 9am-5pm or apply online at www.plazaonthepark apts.com Managed by Metroplex, Inc

LARGE ONE BEDROOM apart-

ment near Warren Park and Metra, 6802 N Wolcott. Hardwood floors, Heat included. Laundry in building.

Cats OK. $795-$825/ month. Available 9/1.

773-761-4318, www. lakefrontmgt.com

LARGE 1 BEDROOM, $725 Nr Metra & shops, Sec 8 OK. Newly decor, dining room, carpeted, appls, FREE heat & cooking gas. Elevator & laundry room, free credit check, no application fee, 1-773-919-7102 or 1312-802-7301 SOUTH SHORE 1BR apt, newly renovated apt. hdwd flrs throughout, laundry, secure bldg w/surveillance system & wrought iron fencing. $740. 773-880-2414, 773-580-7797 BROADVIEW. 2BR Apt. Heat, appliances & parking incl. On site laundry. $875/mo + sec.

Available now. Call 312-4044577 CHICAGO, Spacious 1BR Apartment, 80th & Crandon, $750/mo.

Call Deborah at Williamson Realty Solutions, 708-596-6771 CHATHAM - 88TH & Dauphin, Spacious, lovely 2BR, lndry rm, security camera, nr metra, $800$1000/mo, 312-341-1950

702 WEST 76TH STREET, 1BR Apt Available now, heat included. Starting at $750/mo.

Call 773-495-0286 EVERGREEN PARK, Spacious 1BR, appliances, heat incl, close to Christ Hospital, $850/mo. 708-422-8801

1 BR $800-$899 LAKESIDE TOWER, 910 W Lawrence. 1 bedrooms starting at $895-$925 include heat and gas, laundry in building. Great view! Close to CTA Red Line, bus, stores, restaurants, lake, etc. To schedule a showing please contact Celio 773-3961575, Hunter Properties 773-4777070, www.hunterprop.com SECTION 8 WELCOME SOUTHSIDE, Recently renovated, 1 , 2 & 3 BR Apts. $800-$1250/mo. Call Sean, 773-410-7084

l

l

AUSTIN - 1BR, LR/DR, balcony,

air, laundry, cable ready, heat & cooking gas incl, security, $850/mo.

Call 773-710-5052 btwn 8am-5pm.

1 BR $900-$1099 Hyde Park West Apts., 5325 S. Cottage Grove Ave., Renovated spacious apartments in landscaped gated community. Off street parking available. Sutdios $950, 1BR $1150 - Free Heat, 2BR $1400 - Free heat; 4BR Townhome, $2200 Call about our Special. Visit or call 773-324-0280, M-F: 9am-5pm or apply online- ww w.hydepark west.com. Managed

by Metroplex, Inc

LAKEVIEW FREE LAUNDRY!!!

NEWER 1BDRM WITH IN-UNIT PERSONAL LAUNDRY ROOM. DAMEN/DIVERSEY INCLUDES DISHWASHER, MICROWAVE,KIT.ISLAND,PANTRY,PATIO&CENTRAL AIR. APPROX 800 SQ.FT. $985/MONTH 312-388-1962

Wrigleville 2BR, 1400sf, new kit/ deck, FDR, oak flrs, Cent Heat/ AC, prkg avail. $1550 + util, Pet friendly, 773-743-4141 www. urbanequities.com RAVENSWOOD 1BR: 850SF, great kit, DW, oak flrs, near Brown line, on-site lndy/stor., $1075/ heated 773-743-4141 www. urbanequities.com 3700 W DIVERSEY: Beaut 3BR, 2BA duplex, 1800sf, new kit, top flr, yard/prkg, storage, W/D, $1495 +util.

773-743-4141 www.urbanequities. com

HOMEWOOD- SUNNY 900SF

1BR Great Kitc, New Appls, Oak Flrs, A/C, Lndry & Storage, $950/mo Incls heat & prkg. 773.743.4141

1 BR $1100 AND OVER PRIME

LOC-NEW

KITCH,

GRANITE, ST’LESS STL, WD FLRS. DW, pantry, walk-in clo, AC, W/D, yard. text 773.230.5810, gdarchs@ gmail.com,

LOGAN SQUARE BLVD Carriage

House, 2-story LR with fireplace, loft, 1 bedroom & sitting room, modern kitchen & bath, utils included. $1250/ mo. Non-smoking. 773-235-1066

1 BR OTHER ROUND LAKE BEACH, IL Cedar Villas is accepting applications for subsidized 1BR apts. for seniors 62 years or older and the disabled.

Rent is based on 30% of annual income. For details, call us at 847-546-1899 ∫

APTS. FOR RENT PARK MANAGEMENT & Investment Ltd. SUMMER IS HERE BUT IT WON’T LAST! OUR UNITS INCLUDE HEAT, HW & CG Patio & Mini Blinds Plenty of parking on a 37 acre site 1Bdr From $750.00 2Bdr From $925.00 3 Bdr/2 Full Bath From $1200 **1-(773)-476-6000** CALL FOR DETAILS

LARGE SUNNY ROOM w/fridge & microwave. Near Oak Park, Green Line & Buses. 24 hr Desk, Parking Lot $101/week & Up. (773)378-8888

CHICAGO

2BR, 1.75 BA, near grocery, bus line to Rock Island, $860, heat incl, street parking only, no pets, Sec req. 773253-8768

PARK

CHICAGO, 2BR NEAR 82nd & King Dr, $900/mo + security.

Heat included. Newly remodeled.

Laundry facilities. Call 312-3152988

CHATHAM- 720 E. 81st St. Newly remodeled 2BR, 1 BA, Dining room, Living room, carpeted flrs, appliances. & heat included. Call 847-5335463

SOUTH SHORE, 78TH & Ridgeland, 6 lrg lovely rooms, newly decorated, wall to wall carpet, blinds, heated, $850/mo + security. 773-568-1718

SECT 8 WELC, 71st & Wentworth, newly decorated, 2BR, 1st floor unit, $900/mo, heat incl., lndry on site. Contact Frank, 708-205-4311

CHICAGO - BEVERLY, large 2 room Studio, 1 & 2BR Apts. Carpet, A/C, laundry, near transportation, $650-$975/mo. Call 773-233-4939

7444 S. VERNON. 2BR, remod hdwd flrs, Sect 8 OK, heat and appls incl, laundry on site. $800 & up. Call Z, 773-406-4841

LANSING 2BR, 1.5BA. A/C, ga-

7701 S. South Shore Dr. 2 BDs with 1.5 Baths, Large Combo Living-Dining Rm, FREE Heat & cking gas. Prkng extra. $785-$850, Kalabich Mgmt (708)424-4216

HAZEL CREST - 16953 S. Page.

Newly remodeled, 2BR, stove & fridge incl. $950/mo + utilities.

Section 8 welcome. Call 708-5571748

CHICAGO SOUTHSIDE BRAND new 2, 3 & 4BR apts. Excel-

92ND & ADA, 2 bdrm, lg &

110TH & VERNON. Lrg 1BR & APTS. FOR RENT PARK MANAGEMENT & Investment Ltd. SUMMER IS HERE BUT IT WILL SOON BE GONE!!

Most Include HEAT & HOT WTR Studios From $475.00 1Bdr From $550.00 2Bdr From $765.00 3 Bdr/2 Full Bath From $1200 **1-(773)-476-6000** CALL FOR DETAILS CHICAGO, 8105-07 S. Paulina Newly remodeled 1 & 2 BR Apts. $650$750/mo.

Call Tom, 708205-1448 or 773-7798100 CALUMET CITY 158TH & PAXTON SANDRIDGE APTS 1 & 2 BEDROOM UNITS MODELS OPEN M-F, 9AM-5:30PM *** 708-841-5450 *** CHICAGO, 7727 S. Colfax, ground flr Apt., ideal for senior citizens. Secure bldng. Modern 1BR $595. Lrg 2BR, $800. Free cooking & heating gas. Free parking. 312613-4427 CHATHAM CHARM , Vintage, newly rehab, 1 BR, h/w flrs, sec alarm, heat & hot water incl, laundry, Sec 8 & Seniors Welc. Call for appt (773)418-9908 SUBURBS, RENT TO O W N !

Buy with No closing costs and get help with your credit.

Call 708-868-2422 or visit w ww.nhba.com CHICAGO, 7757 S. Winchester, 3rd floor. Recently decorated, large 4 room, 1BR, fully heated, $600. Charles (Manager) 312401-0911

2BRs. Quiet bldg. w/ many long term tenants. Heat & appls. Laundry rm.

Sec. 8 OK. No Sec. 312-388-3845

CHICAGO, RENT TO OWN! Buy with no closing costs and get help with your credit. Call 708868-2422 or visit www.nhba.com

MORGAN

NO MOVE-IN FEE! No Dep! Sec 8

lent neighborhood, nr trans & schools, Sect 8 Welc., Call 708-7742473

CHICAGO SOUTH SIDE Beauti-

CALUMET CITY 2BR, newly decorated, Eat-in-Kitchen, appl, 1st fl, near trans, sec 8 ok. $800/mo + sec dep. Credit check.

773-316-7790

ok. 1, 2 & 3 Bdrms. Elev bldg, laundry, pkg. 6531 S. Lowe.

Call Marcy 773-874-0100

ful Studios, 1,2,3 & 4 BR’s, Sec 8 ok. $500 gift certificate for Sec 8 tenants. 773-287-9999/312-446-3333

Ashland Hotel nice clean rms.

24 hr desk/maid/TV/laundry/air.

Low rates daily/weekly/monthly.

South Side. Call 773-376-5200 MOVE IN SPECIAL B4 the N of this MO. & MOVE IN 4 $99.00 (773) 874-3400 ACACIA SRO HOTEL Men Preferred! Rooms for Rent. Weekly & Monthly Rates. 312-421-4597

2 BR UNDER $900 2, 3 & 4 BR/2BA on Douglas &

Independence: 10 min from Dwntn: Move-In Special: 1 mth-Free Heat & Lights, Stove, Fridge & Blinds Incl.

A/C, Ceramic tile in Kit & BA: Laundry Rm, Tenant Pkng: Hdwd Flrs: Sec 8 OK: $775-$1000. To View Call 773-733-7681

CHICAGO , 5209 West Augusta Blvd 2 BR $865/ mo. 5308 W. Hirsch. 1BR, $675/mo Heat incl for all, Sec Req. 773-251-6652

73rd & King Dr Completely Remodeled, tenant heated, 4 room, 2BR, $825/month, NO security deposit, agent owned 312-671-3795 CHICAGO 7600 S Essex 2BR $599, 3BR $699, 4BR $799 w/apprvd credit, no sec dep. Sect 8 Ok! 773287-9999 /312-446-3333

2BR Apt, $715, Near 83rd & Hermitage. Nicely decorated, heat included. A Must See! Call for an appointment 773-783-7098 1401 W 80TH, Auburn Gresham 2BR from $895, Free heat and appliances. 312.593.1677

2 BR $900-$1099 SUMMER SPECIAL: STUDIOS starting at $499 incls utilities. 1BR $550, 2BR $599, 3BR $699. With

approved credit. No Security Deposit for Sec 8 Tenants. South Shore & Southside. Call 312-446-3333

7757 S. YATES #3. Spacious two bed, hardwood floors, updated cabinets. $675 a month no utilities included. Contact Pam at 312208-1771 or 847-975-0345.

BEAUTIFUL 2BR BRICK bungalow, hdwod floors throughout, finished basement, freshly decorated, laundry room, $900/mo.

Available now. Near 127th & Union.

773-964-8325 CHATHAM, 2BR, 1BA, HARDWOOD FLOORS, HEAT & WATER INCL. TENANT PAYS ELEC. $925/MO. AVAILABLE SEPTEMBER 1ST. 312-8357623.

rage, full bsmt for laundry & storage only. $950/no. Dep/credit check required. Tenant pays utilities. 708-4311292

spacious w/ DR, hardwood flrs, sunporch, fireplace, heat/appls incl sec 8 ok $1000/mo + sec 773-415-6914

RICHTON PRK 2BR, rem od cabinets, granite tops, ceiling fans, new carpet & stove, ceramic tile flr. Sec 8 ok. Heat incl. $950. 708.717.7612 AUSTIN AREA, 2BR Apartment, carpet, small newer building, $900/month + utilities. Section 8 Welcome. Call 773-457-2284 NORTH AVE & Cicero

Clean/ Quite 2BR apt, Appl incl. tenant pays all util. No pets. $925/mo + sec deposit Call 708-503-0817 Must See!!!!

AUSTIN AREA, 2BR Apt, carpet, small newer building, $700/mo.

Tenant pays heat and elec. Section 8 Welcome. Call 773-457-2284

2 BR $1100-$1299 Chicago - 2BR, 1st flr, $1100/mo, ap pls/heat, A/C, carpeting, blinds incl. near 91st/Cottage Grove. Sec 8 ok. No Pets. Smoke Free bldg 773-429-0274 CHICAGO, 4300 BLOCK of Augusta, 2BR, 2nd floor, $1125/ mo, utilities incl. Section 8 ok. No pets / No smoking. 773-418-0195 ANIMAL

LOVERS,

LGBT

FRIENDLY BUILDING, SPACIOUS 2BR CENTRAL A/C, LAUNDRY PICS SEE WEB. 1125 LOUIE 773 889-9880.

CHATHAM BEAUTIFUL REMOD 2 & 3BR, hdwd flrs, custom

cabinets, avail now. $1100-$1200/mo + sec. 773-905-8487 Sec 8 Ok

EVANSTON 2BR, 1100SF, great kit, new appls, DR, oak flrs, lndry, $1250/mo incls heat. 773743-4141 www.urbanequities.co Elmhurst: Sunny 1/BR, new appl, carpet, AC, Patio, $895/incl heat, parking. Call 773-743-4141 www.urbanequities.com

2 BR $1300-$1499 RAVENSWOOD SUNNY SPACIOUS Vintage 2 bedroom. Com-

pletely renovated with all new appliances. Hardwood floors and original woodwork. Heat,-parking laundry and storage includ-ed. $1400 call 773-561-8173

SOUTH HOLLAND, 2BR single family home for rent, basement, Section 8 welcome. $1400/mo.

Call 708-691-1604

2 BR $1500 AND OVER LARGE TWO BEDROOM, two

bathroom apartment, 3820 N Fremont. Near Wrigley Field. Hardwood floors. Cats OK. Laundry in building.

Available 9/1. $1775/ month. Parking available. $150/ month for single parking space. $200/ month for tandem parking space. 773-761-4318, w ww.lakefrontmgt.com

DEPAUL AREA : 2BR, 1BA, 2nd floor of owner occupied 2-flat, appliances, central air, in-unit was her/dryer, great floor plan, gorgeous residential tree-lined street, $1625/mo. 773-343-5206 LOGAN SQ! BUTTERFLY Garden! Central AC, Bamboo Flrs, Granite, French-Drs+ pocketDrs expand 2rms into1! $2295/mo Avail8/15. 847331-1466 SAUGANASH AREA : Pulaski & Peterson, 2.5 bedrooms, 1 bath, hardwood floors, 1st floor, quiet building. No smoking. Heat incl. $1500/mo. 773-316-0833 LARGE BRIGHT LINCOLN PK

2Bd, 1Bth, In Unit W/D, Roof Deck, Back Porch, HVAC, Fireplace, DW, Hardwood Flrs, Available Immediately. $2000-$2500 Call: 773 472 5944

2 BR OTHER ROUND LAKE BEACH, IL Cedar

Villas is accepting applications for Subsidized 2 and 3 bedroom apt waiting list. Rent is based on 30% of annual income for qualified applicants. Contact us at 847-546-1899 for details

CHICAGO, PRINCETON PARK

HOMES. Spac 2 - 3 BR Townhomes, Inclu: Prvt entry, full bsmt, lndry hook-ups. Ample prkg. Close to trans & schls. Starts at $816/mo. www. ppkhomes.com;773-264-3005

CHICAGO, 42ND & Cottage Grove, Rehabbed Condo Available. 2BR, 1.5BA, parking included. Section 8 Welcome. Call 773263-6473

MATTESON, 2BR, $990$1050; 3BR, $1250-$1400.

Move In Special is 1 Month’s Rent & $99 Sec Dep. Sect 8 Welc. 708-748-4169

CHICAGO - 2BR HOUSE, 9251 S May, 2 car garage, fenced yard, security doors, Call 708-597-7511

SOUTHSIDE LOVELY 5 room apt: living rm, dining rm, Kitchen, BA, 2BRs. heated, hdwd flrs 773-264-6711

NEAR BEVERLY

HUGE 2+BR apt, nr Metra, CTA & stores. Sect 8 Welc 312.809.6068

3 BR OR MORE UNDER $1200 CHICAGO, 3RD FLOOR, 3 B R , decor, w/w carpet, quiet atmosphere, 8100 So. Marshfield, owner occupied, Sect. 8 welc. Rent neg. 773931-7405

CHICAGO, 90TH & LAFLIN, 3BR, 1st floor, heated, formal dining room, carpet & hardwood.

Available. $1125/mo + sec. 312946-0130 CALUMET CITY, 3BR, 2 car garage, fully rehab w/ gorgeous finishes & hdwd flrs. Beautiful backyard. Sect 8 ok. $1175/mo. 510735-7171 69TH/SANGAMON & 124TH/ NORMAL 3 Lrg BR, Hdwd flrs. $975/mo 70th /Wabash. 2BR. $925/mo. Nr trans & good schls 773-568-0053

Calumet City. 117 157th St. Recently Updated 3BR, 1BA, LR, DR, heat incl. $1150/mo. Sec Dep and App fee req’d. 312-719-6969

BRONZEVILLE, 6 Room Apartment, convenient location, appliances furnished, $900/month. Call 773-576-0367 CHICAGO, ASHBURN AREA,

3BR, 1BA, hdwd floors, laundry room, C/A, $935-$1025/mo + $1100 sec. Sect 8 Welc. 773-430-0101

117/PRINCETON. 2BR, $550.

Tenant pays utils, Sec dep req’d. Avai Now 847-401-5800

VICINITY 65TH and St. Lawrence, modern, tenant heated, 2BR Unit. $725/mo. No Sec Dep. Agent Owned, 312-671-3795

3BR, 1st flr, tenant pays utils, sec 8 welcome. $800/mo + 1 mo sec and 1 mo rent. Available August 1st 773-744-4603

COLLEGE GIRL BODY RUBS $40 w/AD 24/7

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JULY 14, 2016 | CHICAGO READER 43

Large 3-4BR Apts, In unit laundry, hrdwd floors, very clean, No Dep! Avail Now! 708-655-1397

SECTION 8 WELCOME. No Security Deposit. 7721 S Peoria, 3BR apt, appls incl. $1050/mo.

708-288-4510

North Lawndale, 3BR, 1.5BA Remod Garden Unit, hardwood floors, $1100/mo, no security, leave message, 773-203-0288

3 BR OR MORE $1200-$1499 CHATHAM 3BR, 1BA, newly remod, LR & DR w/recessed

lighting, hdwd flrs, C/A, indiv heat & alarm system. $1250/mo. 773-491-8438

South Shore - 6815 S. Merrill,3BR 2 full BA, 3rd fl,c-fans, cent heat & air, hdwd, $13 00 + 1 mo sec. Ten pays utils. Credit check. 773-643-1970 4341 S GREENWOOD 1N $1395 large 4BR, 1BA, all updated, Heat and water incl., no sec dep. Call Toni 773916-0039 or Pam 312-208-1771 AUSTIN - LARGE 6 rms, 3BR,

1.5BA, Hdwd flrs, prkg space, lndry rm, $1250/mo. + 1/mo security. Tenant pays utilities. Call 312-217-3301

123 W. 118TH ST. 3BR, 1.5BA. $1200/mo. Sec 8 Welcome.

Move-in fee req’d. Immed Occup.

708-417-6999 5900 W & 300 N. 1/2 block from Geenline. Renovated 3BR, sanded floors, heat incl. $1200/mo + sec deposit. Call 773-626-8993 HUGE 4 BR, 2BA ($1300),

carpeted and 1br, 1 ba hardwood, ($800), close trans, schools, sec 8 welcome, 773-443-3200.

3 BR OR MORE $1500-$1799 LINCOLN SQUARE 3BR, 1BA $1500. 4914 N Rockwell. Available August 1. Heat included. 2nd floor, no pets, close to Rockwell Brown Line.

Call Lourdes 773-506-7251 NEAR 83RD & Yates. 5BR, 2BA, hdwd flrs, fin basement, stove & fridge furn. Heat incl. $1600 + 1 mo sec. Sect 8 ok. 773-978-6134

3 BR OR MORE OTHER

HUGE, IMMACULATE 4 B R , 1BA & 1BR Garden Apt Avail.

Newly remod, close to trans & shopping, quiet block. Must See! Won’t last long. Sect 8 welc.

Call Nigel, 312-7700795

SECT 8 WELC, 92nd & Ellis, 46BR House, will accept 4BR Voucher. All appliances included, no security deposit. Call 847-5332496, Steve.

ROOM FOR RENT

SECTION 8 WELCOME WEST PULLMAN 255 W. 111th Pl, 6BR, 3BA, $1620. Newly remod, appls incl, full bsmt, garage. 5BR Voucher Accepted. 773-793-8339

MARKETPLACE

SECTION 8 WELCOME 3-5BR, 2BA, all appliances included, fenced yard, wood floors 6714 S Eberhart 312-804-0209

NORC AT THE University of Chi-

MARKHAM, 4BR HOME, Section 8 welcome.

Immediate Occupancy.

Call 708-296-6222 CHICAGO, SOUTH ON 129TH. Section 8 Welcome. Newly remodeled, 4BR, all appliances incl. $150 0/mo. Call 773-220-0715

SECTION 8 WELCOME

Country Club Hills. 4BR, 2BA $1400/mo Dolton 3BR, 1BA. $1200/mo. Both w/appls and sec dep req. Call 773-447-1990 ALSIP: 2BR, 1BA, $830/mo & 3BR, 1.5BA, $1100/mo.

Parking, appliances, laundry & storage. Call 708-268-3762

GOODS

CHICAGO, 3BR APARTMENT, newly remodeled, heat included, $ 900/mo. Also, Storefront, $800/ mo. Call 773-297-4784 MATTESON, SAUK VILLAGE &

MASSAGE TABLES, NEW and

UNIVERSITY PARK. 4, 3 & 2BR, House/Condo, Section 8 ok.

For information: 708-625-7355

CHICAGO 11923 S Yale, 3BR , 1 BA House. Hdwd flrs, ceramic flrs, fenced yard, stove & fridge, Section 8 welcome 708-296-5477 CHICAGO HOUSES FOR rent.

Section 8 Ok, w/app credit $500 gift certificate 3, 4 & 5 BR houses avail.

312-446-3333 or 708-752-3812

GENERAL 1,000 SF WAREHOUSE SPACE

available now. Drive-in door, bathroom and small office. Great location! $1,100/month Call 773.463.0501

FREE HEAT!! NO security Depos-

it!!! Chicagoland locations 1, 2 & 3 BR’s Section 8 Welcome !!!

773-288-6771 DMI Management

FOR SALE BARGAIN PROPERTY! 6424 S. HERMITAGE AVE.

Sold as is. $18,000.00 or best offer (773) 671-2645 10 am to 7 pm

4 BEDROOM COMPLETELY

re-furbished home on 76 acres of recreational land NE of Antigo, Wi $299,900.00 Call (715) 623-6375

MOVE SOUTH! SOUTHAVEN,

MS Stocked Pond, 5BR, 4 Full Baths, 2+ acres, library, theater rm, office space w/ full BA. 901-827-1916

SELF-STORAGE CENTERS. T W O locations to serve you. All

units fully heated and humidity controlled with ac available. North: Knox Avenue.

773-685-6868.

South: Pershing Avenue. 773-523-6868.

roommates Far Southside: Room for rent: newly remodeled & decorated, nice, quiet area, Sr Citizen welcome. $500/mo. Demetry Armstrong 773-812-2037.

44 CHICAGO READER - JULY 14, 2016

BUSINESS OPS LOOKING FOR THREE motivat-

ed people interested in earning an income of $9,000 per month. NASDAQ listed company. For details call 847202-0997.

legal notices

cago is conducting interviews with workers who have experienced a work-re-lated injury or illness in the last year. Interviewees will be compensated with $40.

For more information, please contact us at: WorkerStudy@norc.org 877-4081897

INVENTORY SALE - 7/16/169am-3pm-HMR Designs Parking Lot-1200 N North Branch St, Chicago, IL. Vases, glassware, urns, rugs, furniture, candles, home & garden accents, one-of-akind props. Cash OR Credit and Carry. All items must be taken at time of purchase. NW corner of North Branch and Division. Parking available.

CHICAGO HEIGHTS 3BR or 2BR, 1BA, NEWLY REMODELED, APPLS INCL , SECTION 8 OK. NO SEC. DEPOSIT. 708-822-4450

non-residential CHICAGO 4BR APARTMENTS 8457 S Brandon & 5BR apartment 2707 E 93rd St. 1st floor, 3-4BR voucher ok; 847-926-0625

$410/month. Utils Incl 448 W. 60th Place 312-343-8196 or 773-744-9915

used. Large selection of professional high quality massage equipment at a very low price. Visit us at www. bestmassage.com or call us, 773764-6542.

HEALTH & WELLNESS FOR A HEALTHY mind and body.

European trained and certified therapists specializing in deep tissue, Swedish, and relaxation massage. Incalls. 773-552-7525. Lic. #227008861.

UKRAINIAN MASSAGE. CALLS in/ out. Chicago and sub-

urbs. Hotels. 1234 S Michigan Avenue. Appointments. 773-616-6969.

ADULT SERVICES DANIELLE’S

LIP

SERVICE.

DANIELLE’S

LIP

SERVICE.

Adult Phone Sex Provider. Ebony Beauty. Must Be 21+. All Credit/ Debit/Gift Cards Accepted.

773-935-4995

773-935-4995 Adult Phone Sex Provider. Ebony Beauty. Must be 21+. All Credit Cards Accepted.

773-935-4995

NOTICES UIC INTESTINAL HEALTH RESEARCH STUDY Looking for woman (African American, Caucasian or Hispanic) between 55-70 of age with no major medical problems.

Investigating how bodyweight can affect your body’s ability to digest and absorb iron.

Please contact Yolanda Vega at yvega22@uic.edu or 312-9966433 for more information.

MESSAGES ADOPTION: A BEAUTIFUL secure life, unconditional forever love awaits your newborn. Kelly 800554-4833 Exp. Pd.

NOTICE IS HEREBY given, pur-

suant to "An Act in relation to the use of an Assumed Business Name in the conduct or transaction of Business in the State," as amended, that a certification was registered by the undersigned with the County Clerk of Cook County. Registration Number: D16147273 on June 28, 2016, under the Assumed Business Name of Menacerno Music with the business located at 4916 N. Mozart Street Apt. 2, Chicago, IL 60625. The true and real full name(s) and residence address of the owner(s)/ partner(s) is: Brian Matson, 1036 N Honore Apt. 2R, Chicago, IL 60622, USA; Joseph Martinez, 9004 S. 49th Avenue Oak Lawn, IL 60453, USA; Maggie O’Keefe, 4916 N. Mozart Street Apt. 2 Chicago, IL 60625, USA; Matthew J Buckingham, 11 West Division Street Apt. 1009 Chicago, IL 60610, USA; Peter Neumer, 1346 N. Greenview Apt. 2F Chicago, IL 60642, USA.

NOTICE IS HEREBY given, pur-

suant to “An Act in relation to the use of an Assumed Business Name in the conduct or transaction of Business in the State,” as amended, that a certification was registered by the undersigned with the County Clerk of Cook County. Registration Number: D16147343 on July 5, 2016 Under the Assumed Business Name of BLUEPEN SOFTWARE with the business located at: 8300 CONCORD DRIVE UNIT 415, MORTON GROVE, IL 60053. The true and real full name(s) and residence address of the owner (s)/partner(s) is: EDWARD BABAYAN, 8300 CONCORD DRIVE UNIT 415, MORTON GROVE, IL 60053, USA

NOTICE IS HEREBY given, pursuant to “An Act in relation to the use of an Assumed Business Name in the conduct or transaction of Business in the State,” as amended, that a certification was registered by the undersigned with the County Clerk of Cook County.

Registration Number: D16147272 on June 28, 2016 Under the Assumed Business Name of THIS QUIET DUST with the business located at: 5233 ARCADIA STREET, SKOKIE, IL 60077. The true and real full name(s) and residence address of the owner (s)/partner(s) is: DUBHE CARRENO 5233 ARCADIA STREET, SKOKIE, IL 60077, USA NOTICE IS HEREBY given, pur-

suant to "An Act in relation to the use of an Assumed Business Name in the conduct or transaction of Business in the State," as amended, that a certification was registered by the undersigned with the County Clerk of Cook County. Registration Number: D16147312 on June 28, 2016, under the Assumed Business Name of Robynhood Ink with the business located at 2620 West Fletcher St #43A, Chicago, IL 60618. The true and real full name(s) and residence address of the owner(s)/ partner(s) is: Robyn Michelle Johnson, 7064 N Damen Ave Unit 2 Chicago, IL 60645, USA.

STRAIGHT DOPE

By Cecil Adams q : Why are humans so afraid of insects? My

first response is to think that insects spoil our food, and a single insect can quickly turn into many, but mice and birds eat our food too, and mice carry diseases. But almost nobody is afraid of birds, and mice don’t inspire nearly the same revulsion that insects do.

—NATHAN

A : I don’t know that I’d nominate mice as an exemplar of an unscary stimulus—fear of mice is one of the most common fears out there. It’s got its own entry as a phobia in the DSM-IV, and in most surveys it’s right up there with fears of spiders, snakes, dogs, and insects. I’ll give you birds, though.

Nobody’s afraid of birds.

But it is true there’s a special weight attached to the fear of bugs, which has received more attention in scientific literature than mouse phobia has. Plus, there was that Jeff Daniels movie. I’m conflating spiders and insects here; though spiders are of course arachnids, I don’t think too many bugphobes are busy worrying about that distinction. In fact, researchers often collapse a whole bunch of critters into a small-animals category that also includes snakes, worms, etc., being less interested in creaturespecific fear than in what motivates powerful fear responses in general.

So why bugs? Some say, maybe unsurprisingly, that it’s evolution: there may just be things humans are genetically predisposed to fear because they once presented us with a distinct mortal threat. Spiders, for instance: “Humans were at perennial, unpredictable and significant risk of encountering highly venomous spiders in their ancestral environments,” Joshua New, a professor of psychology at Barnard, told the Sunday Times in 2014.

Eventually, the idea goes, awareness of that risk crept into our DNA. New was coauthor of a study that year suggesting that humans retain a special ability to quickly identify spiders in our visual field.

Subjects answered questions about images they’d seen flashed on a computer screen, which included depictions of spiders, flies, and hypodermic needles as well as abstract shapes. The subjects recalled seeing the spiders better than anything else, having evolved—the authors surmised—the need to detect spiders’ presence tout suite.

As always with evolutionary psychology, not everyone’s buying it. Some might point to a quirky study structured roughly like New’s, only here the subjects were first screened with two tests: one gauging fear of spiders, the other measuring in-depth

SLUG SIGNORINO

CHICAGO S - NEWLY renov,

familiarity with the British sci-fi show Doctor Who. (Like I said, quirky.) They were then asked to find a picture of a horse in a grid of other images, including spider photos and Doctor Who stills, and guess what?

Relative to the control group, both Doctor Who fans and arachnophobes were slower to find the horse, suggesting that we’re simply more apt to notice (and thus be distracted by) things we’re already interested in. If you fear spiders for whatever reason, you’ll be more attuned to them; it doesn’t need to be genetic.

Critics also see the evolutionary theory as too convenient: after the fact, “it is quite easy to create a plausible-looking adaptive scenario for a phobia to almost any stimulus,” in the words of one researcher. Plus, why would people specifically fear small dangerous animals like spiders and snakes, but not larger, predatory animals that also have the potential to do lethal damage—lions, tigers, and bears? And why do so many people fear cockroaches, which are practically harmless?

Another theory, then, is the diseaseavoidance model, which suggests that our responses don’t stem from a fear of violent harm but from what researchers have called “the food-rejection response of disgust”; why we fear insects more viscerally than we fear lions, in short, is that insects are the sort of thing that would mess up our food. A 1997 paper examining the fears of various animals among subjects in seven countries found a great deal of cross-cultural consistency in the way people responded to the animals in the “disgust-relevant” category—unclean-seeming critters like cockroaches, spiders, worms, leeches, bats, lizards, and rats.

This is all far from settled, clearly. The answer is that nobody really knows where primal fears come from, and there’s some evidence suggesting they can be learned. Not very satisfying, I know, but hey, it’s nature vs. nurture again! Just a few more millennia of back-and-forth, and we’ll have this very debate encoded in our DNA. v Send questions to Cecil via straightdope.com or write him c/o Chicago Reader, 350 N. Orleans, Chicago 60654.

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SAVAGE LOVE

By Dan Savage

The specter of ‘true love’ vs. a good, loving partner

Would “settling” really be so bad? Plus: Can one condom handle two loads?

Q: I’m in my mid-40s, straight, never married. Ten months ago, my girlfriend of three years dumped me.

She got bored with the relationship and is generally not the marrying type. The breakup was amicable. I still love her and miss her. Last week, I wrote her a letter saying that I still love her and want us to get back together.

She wrote me a nice letter back saying she doesn’t feel passion for me and we’re never getting back together.

Over the past few months, I’ve started dating another girl. She’s pretty, smart, sexy, and kind. If I proposed, she’d probably say yes. I want to get married. The problem is that I don’t have the passion for her that I had for my previous girlfriend. So do I “settle” for Girlfriend No. 2 or start my search all over?

Please don’t give me the bullshit that love can happen at any age. At my age, the number of single women without kids is low. How many married people settle for someone who is a good person but not their true love? —NO CLEVER ACRONYM a: There is no settling down

without some settling for.

Please make a note of it. Also, NCA, while passion is a great feeling—totally intoxicating— it also tends to be ephemeral.

It’s a hard feeling to sustain over the long haul, and marriage is theoretically the longest of long hauls. You felt strongly about your ex, but she didn’t share your feelings. You don’t feel quite as strongly about your current girlfriend, but you would like to be married—to someone, maybe her—and Girlfriend No. 2 seems like a good candidate. I wouldn’t suggest proposing, as you’ve been seeing her for only a few months and most sane women view early, impulsive

proposals as red flags. And finally, NCA, the specter of a “true love” waiting for us out there somewhere, either lost or not yet found, snuffs out more good, loving, and totally-worth-settling-for relationships than anything this side of cheating.

Q: My girlfriend has started

seeing other partners. It makes her happy, and in turn I’m happy for her. It’s taking me a bit of time to adjust to the new situation, but she’s happier than she’s been in ages. We love each other and are crazily compatible.

Today she came back from a hotel with bite marks on her breasts. I know she’s been with a few people over the last few weeks, but being reminded of it each time I look at or touch her makes me uncomfortable. What’s more, the guy who did it knew she was part of a longterm couple. Do I need to get over it for the sake of my girlfriend or do I make an issue of hickeys? —BOY REALLY UNNERVED IN SEEING EVIDENCE

a: If you and the girlfriend

have a don’t ask, don’t tell policy about her hookups with others, BRUISE, then hickeys and other kinds of slow-fading marks violate the spirit of that agreement.

Those kinds of marks amount to a nonverbal “tell.” You have a right to calmly point that out to your girlfriend, and she has a responsibility, in the future and in the moment, to remind/ warn her outside sex partners that leaving slow-fading marks on her breasts, neck, thighs, forehead, insoles, eyelids, etc., is out of bounds. For your part, BRUISE, don’t inspect your girlfriend post-hookup for the kinds of marks that fade quickly after sex, as that would amount to a nonverbal ask.

Q: My first refractory

period—the time it takes me to get ready to have sex again after my first orgasm—is shorter than the time it takes me to lose my erection. I was in a relationship and wasn’t using condoms anymore by the time I figured this out, so it was just generally good times—I’d blow my load, take less than a minute to catch my breath, and be ready to go again. But now that I’m single and entering the dating pool, I’m going to be wrapping it again. Obviously.

But I’m not 100 percent sure it’s safe to blow two loads into one condom. I’m not sure how much ejaculate I’m producing the second time I come, but it’s surely less than the first time. I’m not confident that “second” erection would survive the whole exercise of taking off the condom and tying it up and then putting on another condom, but I would like to avoid that rigmarole if possible. So is it safe to blow two loads in a single condom? —TWO PUMP CHAMP

a: The failure rate for condoms when used correctly is low (2 percent), TPC, but the failure rate for condoms when used incorrectly is high (18 percent). Leaks are the most common way condoms fail, and slamming your cock in and out of someone with a fully loaded condom wrapped around it will result in leaks. Even if your second load consists of nothing but good intentions, TPC, reusing a condom the way you describe is a recipe for disaster, impregnation, disease transmission, or all of the above. v Send letters to mail@ savagelove.net. Download the Savage Lovecast every Tuesday at thestranger.com. v @fakedansavage

JULY 14, 2016 - CHICAGO READER 45

b Never miss a show again.

Sign up for the newsletter at chicagoreader. com/early

Allison Crutchfield ò COURTESY OF GROUND CONTROL TOURING

NEW

Alehorn of Power with Thor, Argus, and more 11/12, 7 PM, Reggie’s Rock Club, 17+ Alestorm, Nekrogoblikon 10/11, 8 PM, House of Blues, 17+ Dave Alvin & Phil Alvin 9/11, 7 PM, SPACE, Evanston, on sale Fri 7/15, 10 AM b Atmosphere, Brother Ali 11/21-22, 7 PM, Concord Music Hall, 17+ Beartooth 10/2, 5:30 PM, House of Blues, on sale Fri 7/15, 10 AM b Beaty Heart 9/16, 9 PM, Beat Kitchen Joe Bonamassa 3/10, 8 PM, Chicago Theatre, on sale Fri 7/15, 10 AM Brujeria, Cattle Decapitaion 10/7, 7 PM, Reggie’s Rock Club, 17+ California Honeydrops 9/10, 9 PM, Lincoln Hall, on sale Fri 7/15, 9 AM Alessia Cara 10/7, 7:30 PM, Chicago Theatre, on sale Fri 7/15, 10 AM Caveman 9/11, 8 PM, Schubas, 18+ Chrome Sparks 9/15, 9 PM, Empty Bottle Allison Crutchfield & the Fizz 10/3, 8 PM, Beat Kitchen, 17+ Crystal Castles 10/1, 9 PM, Metro, 18+ Dick Dale 8/14, 7 PM, Durty Nellie’s, Palatine Dandy Warhols, Savoy Motel 9/24, 8 PM, Park West, on sale Fri 7/15, 10 AM, 18+ Morgan Delt 9/14, 9 PM, Empty Bottle, on sale Fri 7/15, 10 AM Electric Six 10/14, 9 PM, Double Door Ace Enders, Aaron Gillespie 9/28, 9 PM, Beat Kitchen, 17+ Family 8/18, 8:30 PM, Beat Kitchen

Ms. Lisa Fischer & Grand Baton 9/1, 7 and 9:30 PM, City Winery, on sale Thu 7/14, noon b Florida Georgia Line 9/17, 7 PM, Hollywood Casino Amphitheatre, Tinley Park, on sale Fri 7/15, 10 AM Aretha Franklin 11/12, 8 PM, Chicago Theatre, on sale Fri 7/15, noon Goblin Cock 10/2, 9 PM, Empty Bottle Neil Michael Hagerty & the Howling Hex 9/8, 9 PM, Hideout Health 9/25, 9 PM, Empty Bottle High Kings 8/23, 8 PM, City Winery, on sale Thu 7/14, noon b Nikki Hill 9/23, 9 PM, FitzGerald’s, Berwyn, on sale Fri 7/15, 11 AM Anne Hills & Michael Smith 9/25, 1 PM, SPACE, Evanston, on sale Fri 7/15, 10 AM b Eric Hutchinson 9/25, 8 PM, House of Blues, on sale Fri 7/15, 10 AM, 17+ Insane Clown Posse 10/27, 7 PM, Durty Nellie’s, Palatine Kikagaku Moyo 10/5, 9 PM, Empty Bottle Elle King 11/5, 7:30 PM, Riviera Theatre, on sale Fri 7/15, 10 AM b Davy Knowles 10/21, 10 PM, SPACE, Evanston, on sale Fri 7/15, 10 AM b Kongos, Joy Formidable 10/5, 7:30 PM, Riviera Theatre, on sale Fri 7/15, 10 AM b Majid Jordan 11/6, 9 PM, Metro, on sale Fri 7/15, 10 AM, 18+ Michelle Malone 8/19, 8 PM, FitzGerald’s, Berwyn, on sale Fri 7/15, 11 AM Del McCoury & David Grisman 10/8, 5:30 and 8:30 PM, City Winery, on sale Thu 7/14, noon b

46 CHICAGO READER - JULY 14, 2016

Raul Midon 9/13, 8 PM, City Winery, on sale Thu 7/14, noon b John Moreland 9/12, 8 PM, SPACE, Evanston, on sale Fri 7/15, 10 AM b Carla Morrison 10/2, 7 PM, Concord Music Hall b Maria Muldaur 10/18, 7:30 PM, SPACE, Evanston, on sale Fri 7/15, 10 AM b Charlie Musselwhite 9/8, 8 PM, City Winery, on sale Thu 7/14, noon b Naked & Famous 11/6, 7 PM, Riviera Theatre, on sale Fri 7/15, 10 AM b Nao 9/19, 8 PM, Lincoln Hall, on sale Fri 7/15, noon, 18+ Bryan Nichols 8/19, 8:30 PM, Constellation, 18+ Conor Oberst 11/26, 8:30 PM and 11/27, 8 PM, Thalia Hall, on sale Fri 7/15, 10 AM, 17+ Pup 11/12, 7:30 PM, Bottom Lounge, on sale Thu 7/14, 11 AM b Josh Ritter 9/26, 8 PM, Thalia Hall, on sale Fri 7/15, 10 AM, 17+ Xenia Rubinos 9/6, 9 PM, Empty Bottle, on sale Fri 7/15, 10 AM Screeching Weasel, Bowling for Soup, Ataris 11/4, 6:30 PM, Concord Music Hall b Amanda Shires 9/19, 8 PM, City Winery, on sale Thu 7/14, noon b Still Corners 10/5, 9 PM, Beat Kitchen, 17+ Tommy Stinson’s Cowboys in the Campfire 8/9, 9 PM, GMan Tavern Lindsey Stirling 10/13, 8 PM, Rosemont Theater, Rosemont, on sale Fri 7/15, 10 AM b Allen Stone 10/7, 8 PM, SPACE, Evanston, on sale Fri 7/15, 10 AM b Street Corner Symphony 9/17, 8 PM, SPACE, Evanston b

Lacey Sturm 8/12, 7:30 PM, Wire, Berwyn b Matthew Sweet 9/9, 8 PM, Park West, on sale Fri 7/15, 10 AM, 18+ Ta-ku 10/2, 8:30 PM, Thalia Hall, 17+ This Will Destroy You 11/18, 9 PM, Metro, on sale Fri 7/15, 10 AM, 18+ KT Tunstall 9/21, 8:30 PM, House of Blues, on sale Fri 7/15, 10 AM, 17+ Villalobos Brothers 9/16, 8 PM, SPACE, Evanston, on sale Fri 7/15, 10 AM b Nick Waterhouse 10/4, 8 PM, Bottom Lounge, on sale Fri 7/15, noon, 17+ Watsky 11/2, 7 PM, Concord Music Hall b Whigs 8/19, 9 PM, Subterranean Wood Brothers 11/3, 8 PM, the Vic, on sale Fri 7/15, 10 AM, 18+ Dweezil Zappa 10/12, 8 PM, Concord Music Hall, 17+

UPDATED Discharge, Eyehategod 10/15, 5:30 and 9:30 PM, Reggie’s Rock Club, rescheduled from 5/31, sold out, early show added, on sale Fri 7/15, 11 AM, 18+ Olivia Holt 8/16, 7 PM, Park West, postponed

UPCOMING Anderson Wakeman Rabin 11/5, 8 PM, Chicago Theatre Arcadia, Red River 8/27, 5:30 PM, Metro b Arcs 7/27, 9 PM, Park West, 18+ Band of Skulls 9/10, 10 PM, Metro, 18+ Baroness, Pallbearer 8/21, 8 PM, Metro, 18+ Big Eyes 8/18, 9 PM, Empty Bottle Andrew Bird 9/7, 7 PM, Pritzker Pavilion, Millennium Park b Black Sabbath 9/4, 7:30 PM, Hollywood Casino Amphitheatre, Tinley Park b Case/Lang/Veirs 8/7, 7:30 PM, Chicago Theatre b Cherry Glazerr 8/11, 7 PM, Subterranean b Child Bite 7/30, 8 PM, Burlington Dear Hunter 9/21, 7:30 PM, Metro, 18+ Dej Loaf 8/13, 7 PM, Portage Theater Dinosaur Jr. 10/8, 9 PM, Metro, 18+

ALL AGES

WOLF BY KEITH HERZIK

EARLY WARNINGS

CHICAGO SHOWS YOU SHOULD KNOW ABOUT IN THE WEEKS TO COME

F

Explosions in the Sky 9/10, 8 PM, Aragon Ballroom, 17+ Failure 10/21, 9 PM, Double Door, 17+ Brian Fallon & the Crowes, Ryan Bingham 9/20, 7:30 PM, Riviera Theatre, 18+ John Fogerty 8/25, 8 PM, Ravinia Festival, Highland Park Ghostface Killah & Raekwon 8/5, 8:30 PM, Metro, 18+ Col. Bruce Hampton 8/20, 7 PM, Reggie’s Rock Club, 17+ The Head & the Heart, Declan McKenna 10/14, 8 PM, Aragon Ballroom b Don Henley 8/14-15, 7:30 PM, Ravinia Festival, Highland Park If These Trees Could Talk 9/1, 8 PM, Beat Kitchen, 17+ Il Divo 10/22, 7 PM, Rosemont Theater, Rosemont b Jesu, Sun Kil Moon 11/13, 8 PM, Park West, 18+ Kansas 11/4, 7 PM, Copernicus Center b Landlady 8/10, 8:30 PM, Constellation, 18+ Lau 9/24, 7 PM, SPACE, Evanston b Madball 8/14, 6 PM, Reggie’s Rock Club, 18+ Marduk, Rotting Christ 9/11, 7 PM, Reggie’s Rock Club, 18+ North 41 8/19, 9 PM, Lincoln Hall NRBQ, Los Straitjackets 9/9, 8 PM, SPACE, Evanston b Of Montreal 9/19, 7 PM, Metro b Omni 8/16, 9 PM, Empty Bottle Paper Bird 9/10, 7 PM, Subterranean Queensryche 12/9, 8 PM, Concord Music Hall, 17+ Record Company 10/7, 9 PM, Lincoln Hall Russian Circles, Cloakroom 9/9, 9 PM, Metro, 18+ Sia, Miguel 10/16, 7 PM, United Center Sigur Ros 9/30, 8:30 PM, Chicago Theatre Sumac 8/9, 8 PM, Township, 17+ Temples 10/22, 9 PM, Empty Bottle Steven Tyler 8/13, 8 PM, Chicago Theatre Ulcerate 11/27, 7 PM, Reggie’s Rock Club, 17+ Vinyl Thief 9/18, 9 PM, Empty Bottle Butch Walker, Suzanne Santo 9/10, 8 PM, House of Blues, 17+ Wilco 8/21, 6:30 PM, Pritzker Pavilion, Millennium Park b Wolves in the Throne Room 9/23, 9 PM, Empty Bottle Zakk Wylde 7/24, 8 PM, Concord Music Hall, 17+ Yellow Claw 7/31, 10 PM, the Mid Yes 8/20, 8 PM, Copernicus Center b ZZ Top, Gov’t Mule 9/17, 7 PM, Rosemont Theater, Rosemont v

GOSSIP WOLF A furry ear to the ground of the local music scene IN LATE 2014, Gossip Wolf was thrilled to hear that Funk Trunk Records had set up shop in Rogers Park—sadly, though, the brick-and-mortar location on 6960 N. Sheridan is no more. Owner Quinn Cunningham broke the news on Facebook last Friday, and he tells Gossip Wolf that the shop officially closed over Independence Day weekend. “I didn’t want to make it into a drawn-out ‘this is the end’ event,” he says. “The shop will transition into an online store and pop-up shop, and will do some record shows around the region.” Cunningham’s post mentions the possibility of reopening Funk Trunk at a better location in the future; until then, the store’s Facebook page will list all the events where you’ll be able to find Funk Trunk inventory in person.

After a Kickstarter campaign that ended in May, local vinyl-display manufacturers Flipbin are ready to bring their small, mobile record-storage units to market. After browsing Flipbin’s new website, Gossip Wolf thinks their aluminum bins— available in 12-inch or seven-inch sizes, which hold about 30 LPs or 45 singles, respectively—seem handy for DJs, as well as for folks who are just tired of stacking recently acquired records on their turntables. You can grab one at their tent at the Pitchfork Music Festival or preorder single units or combo packs online.

On Friday, July 15, Chicago shoegaze band Lazy Legs drop their new full-length cassette, Visiondeath, on local tape label Wild Patterns. A $5 preorder includes the free digital bonus track “Jason Robbards,” which this wolf really hopes (despite that second b) is about the actor from All the President’s Men and The Day After.

Gossip Wolf is sad to report that Vince Campbell, the guitarist who cofounded ridiculously gross and totally slamming old-school Chicago death-grind band Eyegouger in 1988 (his stage name was “Nipple Cruncher”), passed away in his sleep last week at age 52. —J.R. NELSON AND LEOR GALIL Got a tip? Tweet @Gossip_Wolf or e-mail gossipwolf@chicagoreader.com.

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CULTURE CLUB

case/lang/veirs

STEVEN TYLER

ROMAN VS FOUSEY

JENNY LEWIS

LAKE STREET DIVE

ORIGINAL LINE-UP IS BACK: BOY GEORGE, ROY, MIKEY & JON FRIDAY, JULY 22

SUNDAY, AUGUST 14

(neko case / k.d. lang / laura veirs) SUNDAY, AUGUST 7

WITH THE WATSON TWINS THURSDAY, SEPTEMBER 8

OUT ON A LIMB SATURDAY, AUGUST 13

FRIDAY, SEPTEMBER 23

GET ACCESS TO

CHASE PREFERRED

SEATING

AVAILABLE TO CHASE CREDIT AND DEBIT CARDMEMBERS.

For more info, visit Ticketmaster.com or

chase.com/chicagotheatre

M A RQ U EE PA R T N ER O F T H E C H I CAGO T H E AT R E ®

The Chicago Theatre provides disabled accommodations and sells tickets to disabled individuals through our Disabled Services department, which may be reached at 888-609-7599 any weekday from 8:30 a.m. to 3:30 p.m.

Debit cards are provided by JPMorgan Chase Bank, N.A. Member FDIC Credit cards are issued by Chase Bank USA, N.A. © 2015 JPMorgan Chase & Co.

JULY 14, 2016 - CHICAGO READER 47

GOOSE ISLAND BEER CO.

SINCE 1988.

©2016 Goose Island Beer Co., Chicago, IL | Enjoy responsibly.

CHICAGO,